If this and Christopher Nolan’s Insomnia prove anything, it’s that the Alaskan Wilderness is a scary environment to go hunting for killers. I don’t care how pretty the scenery may be, if someone (Or something*) up there is wanted in questioning, I want no part in any of it. This horror thriller was initially set to premiere out of competition at the 2018 Cannes Film Festival. However, following a series of heated clashes between the distributor and festival elites, it was pulled away from its original summer release and instead premiered at the 2018 Toronto International Film Festival in mid-September to somewhat polarized reactions. Following another screening at Fantastic Fest, it was released (very briefly) in art house theaters and on the streaming service Netflix on September 28th, 2018. Directed by Jeremy Saulnier, the same man behind Blue Ruin and Green Room, his childhood friend and frequent star Macon Blair adapted the screenplay from the 2014 novel of the same name by William Giraldi. A24, the same production company that released Green Room, was initially supposed to distribute the film, before Netflix acquired worldwide rights in January of 2017. Set in December of 2004, the film opens with a young woman named Medora Slone, played by Riley Keough, whose young son is seemingly taken and murdered by wolves near a tiny Alaskan village named Keelut. She writes to Russell Core, played by Jeffrey Wright, a writer and retired naturalist who studies wolf behavior, begging him to help track down the wolves and kill them. She wants to make sure she at least has something to show her husband when he returns home, who’s currently deployed in Iraq. But while Core agrees and is out on the job, he accidentally gets drawn into a very dark mystery that the rest of the village seems to be in on. I’m a pretty big fan of Jeremy Saulnier’s two previous directorial efforts, Green Room and Blue Ruin. While the characters in both films were victims to making stupid choices, they both illustrated an exciting new filmmaker with a tight control on his voice. So getting the opportunity to see his next picture from the comfort of my dark living room in the evening made me anticipate Hold the Dark, not to mention the wonderful cast assembled. In particular, I wanted to see how he would be able to handle the bigger-scaled story compared with what he had previously written and directed. While it’s admittedly not really as great as those films, it’s still a solid thriller worth watching at least once. It’s clear in its metaphors that Saulnier has much he wants to say about human nature and our violent natural instincts. We witness numerous heinous acts committed by humans in either the village in Alaska or over in the Iraq warzone, ranging from murder to rape. In comparison, the wolves of Alaska, which are often viewed as savage and uncivilized, are oblivious to their own actions; everything that happens to them is seen as natural. Similar to his previous films, Hold The Dark doesn’t hold back on gruesome violence, but none of it ever happens unless it’s in service to the story. In fairness, Saulnier and Blair ultimately get carried away with their metaphors as the film doesn’t seem to lead anywhere totally concrete. It attempts to hint at something a little more supernatural, but rarely does something totally meaningful with it. I’ve enjoyed seeing Jeffrey Wright in a number of supporting roles over the years in both T.V. and film. And he proves here that he’s fully capable of carrying a feature-length picture as a lead character. As Russell Core, there’s a quiet aura and history of sadness and loneliness surrounding him, and we watch him trying to cling to reason and do what’s right. Riley Keough and Alexander Skarsgård also do great work as the Slone couple, who never seem quite right when they’re separated. From the very minute that these two first appear onscreen, they exude a cold, observational outlook on the remainder of their community. Julian Black Antelope and Tantoo Cardinal do superb supporting work as indigenous locals who seem to know something isn’t right with the family in question, while James Badge Dale is wonderfully subdued and grizzled as the honest cop hopelessly looking for answers. There are also tiny but effective parts by Peter McRobbie and Macon Blair himself that leave something of an impression. Meanwhile, the technical aspects of Hold the Dark reveal reasons why Saulnier is a talent worth watching out for. Magnus Nordenhof Jønck’s cinematography is quite gripping, using the bleak snowy environment to create a strong yet melancholic atmosphere. The way that it focuses on subjects and their every movements is very reminiscent of David Fincher, especially in the slow way that it reveals certain things. The editing by Julia Bloch, collaborator for the director on his previous efforts, cuts the movie in an extremely patient, slow to roll manner. Whenever violence bursts out, such as an intense shootout at a barn, it refuses to linger on gratuitous or bloody images for too long. It also focuses on certain subjects while other things are happening offscreen, as if to create a distant and observational look at the events displayed. Brooke Blair and Will Blair, Macon’s younger brothers and who have previously scored Saulnier’s last two features, have written some music for this film. It is in line with material they’ve written in the past, as it mostly consists of somber synthesizers and strings, reflecting the sad world the characters all live in. It also has a couple of tracks using the same instrumentation but instead arranged to rack up intensity. Filled with atmosphere and perhaps more metaphors than it can afford to carry, Hold the Dark is a sturdy, if unsatisfying slow-burn with a tight central mystery. Jeremy Saulnier proves that he’s able to handle a bigger budget, even if the results don’t always work. Moreover, Jeffrey Wright and Alexander Skarsgård provide some of their best work yet and show why they should be taken more seriously by studios and filmmakers. If for nothing else, this movie stands as further proof why I never want to live in Alaska.