A new police officer wants to meet up with somebody in an abandoned fort in the woods. What he doesn't know is that the place also serves as a meeting point for a group of hunters - whose prey aren't animals.
A horror-thriller centered on a woman living with "face-blindness" after surviving a serial killer's attack. As she lives with her condition, one in which facial features change each time she loses sight of them, the killer closes in.
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1940: the entire population of Friar, New Hampshire walked up a winding mountain trail, leaving everything behind. 2008: the first official expedition into the wilderness attempts to solve the mystery of the lost citizens of Friar.
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Scarlett Alice Johnson,
An Iraq war veteran, Le Saint, has just started working as a police officer in a small town where many unexplained disappearances of persons have occurred within the last two years. He wants to investigate the cases, but his hot-tempered chief charges him with with the escort of a turn state's evidence. Against his chief's orders, Le Saint relocates the meeting spot to the abandoned Fort Goben in the woods. What he doesn't know is that the fort also serves as a secret meeting point for a group of ruthless hunters - whose prey aren't animals. Written by
This tale is so convoluted and nonsensical I can't imagine how this ever got green lit for production. Poorly written by Michael Lehman, with some questionable acting (especially from Terence Knox and Philip Correia), one can only wonder why Chris Briant, who directed and starred, didn't demand a better narrative. Either performing both duties overwhelmed Briant, or his ego exploded. Either way, knowing this was his first film for both acting and directing, the clunky storytelling may make some sense. Worst still, though one may think the editing was poor, I'm sure editor Nafi Dicko cried over this mess of story and did his best with the pitiful material he received. The ½ star, however, goes to cinematographer John B. Aronson who has given us one of the best looking worst movies ever seen, and to Steven Waddington and Tony Becker for bringing us grounded characters even in a pathetic lost cause. Sadly, what could have been a tremendous character study for both their on-screen personas, which would have provided a truly disturbing and sobering tale, was completely lost.
Why Lehman introduced a third rate police angle into the mix, and a horrendously trite and overly clichéd reveal, is beyond comprehension.
I rarely say this, but because THE HUNTERS is so poorly crafted, I recommend avoiding this mess at all costs so you won't fall prey to giving the producers one thin dime (or euro in this case).
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