Valerie (Amanda Seyfried) is a beautiful young woman torn between two men. She is in love with a brooding outsider Peter (Shiloh Fernandez), but her parents have arranged for her to marry the wealthy Henry (Max Irons). Unwilling to lose each other, Valerie and Peter are planning to run away together when they learn that Valerie's older sister has been killed by the werewolf that prowls the dark forest surrounding their village.
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Reviews
Empire Magazine
Willian Thomas
"By turns impish, flirty, scared and strong, she’s a great heroine, and Seyfried’s performance is bewitching. Trouble is, there’s very little that matches up to her passion."
20/04/2011
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Total Film
Ken McIntyre
"Once you’ve abandoned all hope of seeing anything resembling the gothic horror promised by the marketing however, Red Riding Hood is actually a fun, goofy ride, albeit one lathered in chintz and froth."
11/04/2011
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The New York Times
Manohla Dargis
"What sharp teeth Ms. Hardwicke doesn’t have: working from David Leslie Johnson’s screenplay she takes on the story’s grown-up themes of sex and death directly but weakly. This might be because the movie has been pitched at young adults, as evidenced by its pretty leads, electronic soundtrack, contemporary vibe and veneer, and caution."
10/03/2011
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The Daily Telegraph
Tim Robey
"Red Riding Hood should be campily entertaining but somehow isn’t, because Hardwicke becomes a more complacent stylist with each successive movie, and the whodunit twists are right out of Scooby-Doo."
14/04/2011
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Time Out
Trevor Johnston
"Yes, there’s enough connection with the source’s underlying issues of repression and desire to give this reason to exist, but, boy, does Hardwicke labour in getting from fairy tale to would-be psycho-thriller. For a start, it’s hard to take any of this seriously."
14/04/2011
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The Sunday Times
Cosmo Landesman
"Red Riding Hood should be as irresistible as a great, trashy pop song; alas, it’s all pap and no pop. Seyfried looks like a blonde princess who has wandered into the wrong fairy tale. But then so have we, the audience."
17/04/2011
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The Financial Times
Leo Robson
"A lacklustre tale of star-crossed lovers and a whodunit of staggering mediocrity."
13/04/2011
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The Los Angeles Times
Betsy Sharkey
"Gorgeously shot, smartly conceived, cleverly cast, badly executed — the lush medieval beauty here is at best only skin deep. If this were a four-letter-word newspaper, you would see a string of them now."
11/04/2011
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The Independent on Sunday
Nicholas Barber
"Twilight-aholics shouldn't be taken in. The mystery plot doesn't leave room for the love story, and Fernandez and Irons are less convincing than the CGI wolf."
17/04/2011
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The New Yorker
David Denby
"We don’t care if she is devoured or winds up with one of the young men or spends all eternity rolling in the snow with the werewolf. Hardwicke and her editor employ the new shock syntax of horror films; the movie is all whoosh and whack and abrupt closeups. It’s an alienating experience, without emotional resonance or charm."
28/03/2011
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The Daily Mail
Chris Tookey
"Acted out with this degree of leaden angst, it is a painful, anachronistic bore."
20/04/2011
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The Guardian
Peter Bradshaw
"The "little" has been removed from the title, and director Catherine Hardwicke has put a pubertal spin on the old folk tale, removing its teeth, pedantically spelling out the lite-psychological implications, and populating it with high-cheekboned hotties smouldering in the twilight. They all yearningly brood and pout, especially the wolf, who is frankly an incredible drama queen."
14/03/2011
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The Independent
Anthony Quinn
"Astonishingly awful."
15/04/2011
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The Times
Kate Muir
"The werewolf is an outsize labradoodle, and Seyfried’s acting consists of ogling wildly, particularly when she says “What big eyes you have, Grandmama,” to a peering Julie Christie."
15/04/2011
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