Red Fox tells a powerful tale of blurred “justice” and despair, as a bunch of deluded folk of faith hunt a homeless man for sport out in the country.
Philip Martin earns his spot as a peer amongst other British horror/thriller filmmakers, bringing an uneasy realism to terrify his audience.
It effortlessly incorporates subgenres such as the revenge-o-matic but does not use it as the main plot-driving tool. The tone and British wilderness set-up aren’t too dissimilar to the likes of movies such as Calibre (2018) and it brings the same unprovoked hostility you would find in hoodie horrors such as Eden Lake (2008) (but certainly not as nearly as graphic as the latter). This hasn’t anything to do with the story, this is simply to illustrate that Philip Martin earns his spot as a peer amongst other British horror/thriller filmmakers, bringing an uneasy realism to terrify his audience.
As opposed to a regular journey with a start, middle and end, the non-linear setup does wonders for the pacing, causing you to experience multiple timelines, keeping you hooked throughout, and not losing traction – which has been the case for even the more infamous revenge-o-matics, such as Deliverance.
Amazing performances all around, but especially by Lee Jackson who gives us a wrathful religious nut that is definitely the exception to the fact when it comes to northern hospitality.
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