Little Dead Rotting Hood

April 15, 2016

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Little Dead Rotting Hood

Little Dead Rotting Hood

John Noonan
Year: 2016
Rating: MA
Director: Jared Cohn

Eric Balfour, Bianca A. Santos, Romeo Miller

Distributor: Vendetta
Released: April 16
Running Time: 88 minutes
Worth: 2.5

FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth


In Little Dead Rotting Hood, a small Midwestern town struggles with its ever increasing high body count. Haven’s Eric Balfour plays the sheriff heading up the investigation and trying to maintain order. The cause of death in all instances – even those that happen in college kids’ bedrooms – point towards wolves snacking on the town’s residents. Things become increasingly complicated though, when a young woman (Bianca A. Santos) turns up, very much undead and willing to take on the wolves in hand-to-paw combat.

With production company, The Asylum, best known for their prolific output of mockbusters and shark movies – whether they be in tornado form, megasized, or otherwise – it’s refreshing when they send something out of their stable that looks like neither. And as originality goes, Little Dead Rotting Hood is definitely shooting for high concept. Director, Jared Cohn (Bound), and writer, Gabriel Campisi (Jailbait), offer up a solid B-movie premise that would make Roger Corman envious. But whilst the planning is sound, the execution is not as fun as it should be for a film that sees rednecks whooping and a’hollerin’ whilst firing off flamethrowers into the air.

Balfour does his best Sheriff Brody as he struggles with the fur-covered threat, undead women, and juggling the responsibility of being a divorced dad of two (!) Wisely, he never coyly winks at the audience a la Sharknado. However, he’s unable to hide the stilted dialogue, iffy pacing, and “vicious” wolves that leap on their prey with all the ferocity of a dog having a brilliant day out. There’s a rushed feeling to Little Dead Rotting Hood that puts a damper on its fun schlock. But if you’re partial to The Asylum’s brand of budgetary storytelling, then you’re in for an enjoyable, if disposable, time.


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