Little Erin Merryweather

"Little Erin Merryweather," a refined gem of the art house genre, deserved its awards. Vigdis Anholt's compelling portrayal of the female killer infuses the film with a profound feminist undertone. David Morwick's performance as the 'final boy' is a highlight, seamlessly blending humor and emotion. The picturesque snowy landscapes and enchanting illustrations by Kelly Murphy contribute to the film's visual allure, perfectly complemented by Paul Cristo's award-winning indie score, which elevates the viewing experience to new heights.

What truly distinguishes this film is its ingenious killer calling card - victims adorned with stones in their abdomen. This chilling twist on the classic tale of Little Red Riding Hood cements "Little Erin Merryweather" as a work of art, shattering conventions and proving itself to be ahead of its time.

To paraphrase Robert Benchley: Little Erin Merryweather takes the road less traveled — in this case, the high road, and along the way manages to kick every modern horror movie cliché to the curb. Item 1: Viewers know instantly whodunit. But the characters don't, and as Hitchcock always knew, that's where the real fun—and suspense—is. Item 2: Said killer isn't a one-dimensional mad slasher sporting a hockey mask. Instead, she (Vigdis Anholt) — that's right, she — remains winsome and wise with crystal-blue eyes (when sane, that is). Still, it's enough to charm Item 3, the curly blond male lead (David Morwick), yet not the actual hero of the film, notwithstanding his dashing looks, sheepish grins and seductive lip-biting. Instead, that role goes to Item 4, the smart, attractive psychologist (Liz Callahan), clearly in charge though (uh-oh) female and fiftysomething. And finally, Item 5: The violence isn't repulsive. Instead, it's restrained, just like the film's de rigueur indie-driven budget — yet a talented cast and crew, performing double or sometimes triple-duty (Morwick also scripted and directed), burnish a strikingly-polished film. Which is why Little Erin's journey down that untrodden road is such a wild, bumpy and cheerfully creepy ride.

an interesting and surprisingly rhapsodic slasher film, 'little erin merryweather' combines fairy-tale imagery, classic horror genre elements, romantic comedy elements, and burton-esque flights of fancy to tell the story of a little girl who is 'lost in the woods' due to scarring abuse as a child. the setup and plot progression are typical (and almost dull in their by-the-book crime thriller development), but the proceedings are boosted by some suprisingly strong performances (particularly the psych teacher) and a creepy, sing-songy lilt that i've never really seen before in this type of film (i can only compare it to "dead of winter", "jack be nimble", and "the company of wolves", although i can't even really say why). deliciously eerie childlike music and fantastic illustrations and voiceover let on from the start that this is not your typical cut-em-up, but then fairly standard scare scenes bring you back to the reality that yes, it may be just that. left a somewhat stale taste in my mouth due to the demonisation of a victim of abuse (a tired and potentially insulting thriller theme that's been virtually abandoned), but earned definite points for its clean, economic direction and unique tone. i'd like to see more from these guys. screened at the nychff.

feel like this should be the tag line.This by no means is perfect and I'm giving this six stars not a perfect ten.Some of the murders are WAY too long and drawn out! god help us it's too slow at times,but I really liked this kiddies.The script is creative and thank god this is not another scooby do mystery I'm sooo over those.The acting for a slasher is good,Anholt and Morwick would be the strongest out of the bunch.Most low budgets like these consist of just naked girls getting their heads cut off, this is a bit more sophisticated than that.The music is gorgeous in this, almost too beautiful for a slasher.Question anyone have more info on the artist who did the sketches for the movie? love to see more of her work,let me know.

What makes this more of an art house film is that the blood letting is limited, it's picturesque and it's story is decidedly different. The notion of cutting open the victim's stomach and filling a cavity with rocks gives it a fairy tale appearance. The killer tells the story which is a very cool twist and does it against a backdrop of fantastic art work.

Vigdis Anholt was such a compelling villainess. Erin is an intimidating and memorable character. She embodies a child-like innocence but yet instills a nagging feeling that something isn't quite right. Certain sights and sounds trigger her inner demons. It really is a feminist movie in its own right.

I was impressed with David Morwick's portrayal of Peter as the lone surviving male. He is a sympathetic character. Like Erin, he's ultimately a bit of a loner. Erin and Peter 's scenes together, have elements of romantic comedy which adds a bit of charm.

The film has a musical sensibility and is creepy but yet angelic. There is striking imagery. White snow was a beautiful contrast with Erin's blood-red cape. As for the music, I love the dramatic power of the choir. Make no mistake, for a little horror film, the music is striking.