Rouge Sang

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.

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.

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.

I appreciated how smart this independent film is. It literally switched every gender role on its head. There is a feminist bend to Little Erin. In fact, I would put this in the category of feminist horror. You have a strong female, front and center who preys on handsome young men.

Vigdis Anholt as the femme fatale is superb. At times she invokes sympathy and at other times, she is down right terrifying. Not easy to pull off. Her portrayal of someone with a split personality who suffered from sexual abuse as a child is most convincing. The movie racks up creativity points by coming up with a new character in horror who dresses up as a creepy beauty doll to look like Little Red Riding Hood. She also disembowels her victims and replaces their insides with stones. This is novel. It simply hasn't been done.

For once, we have a final boy in David Morwick's character, Peter. Morwick brings the right mix of humor and sensitivity. At times, it's like watching a romantic comedy but then it all changes when he is sobbing in fear as his friends go down. Erin picks off all the alpha males and it may be Morwick's shyness and sensitivity that saves him in the end. For me, the film is woefully underrated. Despite a limited budget, the filmmakers don't resort to blood and naked bodies. Rather the film showcases stylish photography with great color contrasts and fanciful artwork. The original soundtrack is excellent and conveys a deeply sad message which runs throughout the film.

"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.