![]() That movie won the 2018 SXSW film festival and went on to play Cannes (albeit in the easily overlooked ACID sidebar), which ain’t half-bad for an indie director who made the film in part just to prove he could. Cummings became a minor cult-movie figure on account of his prior feature, “Thunder Road,” in which he played an unstable cop working through serious family issues (the death of his mother, a divorce with a messy custody battle) while on the job. My advice to you: Try to acquire it before you see “The Wolf of Snow Hollow,” because attempting to adjust to his wavelength in this context is a mostly frustrating prospect. Crew model kind of way, but also works hard to show that there’s roiling complexity beneath that superficially appealing exterior.Ĭummings’ characters come with baggage, and watching the actor wrestle with his demons is something of an acquired taste. But the central personality here - the one guilty of sucking up most of the oxygen in the room - is writer-director and star Jim Cummings, who’s handsome in that square-jawed J. Those characters include a violence-averse police chief ( Robert Forster, offering a variation on Tommy Lee Jones’ introspective “No Country for Old Men” routine in his final role) and a scene-stealing officer (“Garfunkel & Oates” alum Riki Lindhome) whose intuition is every bit as sharp as her comic timing. Or more accurately, it treats them as the setup for a uniquely uncomfortable sitcom of sorts, one that’s less concerned with solving the case than it is with showcasing the odd mix of characters tasked with investigating the crimes. ![]() Ghastly as that sounds, “ The Wolf of Snow Hollow” treats these murders as a joke. The situation is worse than that, actually: The insidious lupine assailant rips off their limbs, separates their heads, and leaves a gaping hole where their most intimate parts ought to be. Someone - or something - is killing young women in the sleepy town of Snow Hollow.
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