one of my absolute favorites!

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

The camera work and direction and editing were well done, however the two characters and dialog were completely unbelievable. Terrible dialog and diction that belongs in the 21st century. They really needed a language and diction coach, unless they were going for the time-traveling spoiled teenagers angle. I fully expected some twenty- something dudes to show up with a six pack and a pickup truck to save the day.Synopsis: Two girls, lost in the Canadian woods, come across a destroyed native village, where an old woman speaks a cryptic prophecy and hands them necklaces. A handsome young native hunter shows up to guide them to a trading post, where they meet more stereotypical characters in the priest, the old doctor, several disposable "red-shirts", the misogynistic lieutenant and kindly commanding officer who has dirty secrets regarding the werewolves that have been trying to wipe them out for several months. Racial tensions just happen to come to a climax, while everyone is having a nice dinner, and profound words are spoken regarding equality, and the fight is over.Later that night, one sister in her nightie (yes, a nightie) follows the sound of crying to a locked up boy who bites her, and of course tears off her necklace for the commander to find later, then escapes into the fort to cause several moments of drama and moral conflicts between the soldiers. The sister starts to turn, and in the midst of a werewolf attack (which started when she opened the gate), everyone ignores the obviously sick girl, the commander kills to protect his secret that apparently almost everyone knows already-that the werewolf kid is the commander's son.The CO feels guilty over his wolfie son and shoots him, but protects the girls. When the girls are kicked out of the fort, they wander through the woods, until they meet another native from the fort who guides them to a cave, where they meet again the hunter and the old woman who sends Bridgette on a hallucination/prophecy trip which is obviously misleading the audience.Bridgette wakes to find the old woman dead, wolfie sister gone, and the handsome hunter telling us all and Bridgette what to maybe expect in the next few scenes. Leading her back to the fort, he betrays her, because the moral here is that handsome boy doesn't mean nice boy. The dramatic and waffling tension over who is good/evil, sane/insane, moral/immoral etc continues as they countdown for the wolfie sister to return with her pack, and wipe out everyone in the name of avenging all the wrongs done to her. Oh. So they were all evil and needed to die? Just the sisters escape, as the fort burns down.Touching ending with the sisters once again swearing "together forever". I'd watch your back Bridgette. She looks hungry.

I have seen all Ginger Snaps films and aparrently this one is by far the worst.The ending of the second one reaches a point where I want to know "WHAT HAPPENS TO BRIDGETTE!!!" but instead what I get is some movie set a few hundred years before the first one even happened.As far as acting goes - Emily Perkins and Katherine Issabelle are very good - very underrated Canadian actresses, but the rest of the cast do decent jobs at best. (the worst performance being the person who played the old Indian woman - I am not even going to look her up).As far as Werewolf design goes this is very good, it is very believable - that is however as far as things go here.Watch #1 - Watch #2 then make up your own third entry - it will be better than this.

~Spoiler~ Shot back-to-back with Unleashed, Ginger Snaps Back: The Beginning is my least favorite of the series. But it's still not a bad flick. This is a prequel that takes place in an early 1800's trader's fort that is besieged by "Wendigos". The prequel idea was probably the best way to get Ginger back into the series (even though she's not the reason I enjoy these movies). Both Isabelle and Perkins (who is the reason I enjoy these movies) are completely at home in these characters now. Strong character actors like JR Bourne, Nathaniel Arcand, and Brendan Fletcher (who got killed in the last Ginger Snaps movie as well) also help set the scene. It may be my least favorite, but this one looks the best. Second unit director for the original Ginger Snaps, Grant Harvey, is at the helm and really gets good use out of the Canadian wilderness. The setting really is unbelievable. Fort Edmonton Park (recently seen in a Fear Itself episode) is a fantastic place for a period horror film. The last film also best showcases the KNB werewolves. This is the only Ginger Snaps film to show the werewolves full on. Hopefully this is the last film in the series, because overall it was a fine little trilogy.

The original "Ginger Snaps" was a fun, affecting coming-of-age tale disguised as a werewolf movie that introduced us to Ginger (Katharine Isabelle) and Brigitte (Emily Perkins), two of the most endearing horror heroines in recent memory. "Ginger Snaps Back"--a prequel of sorts--takes a decidedly different route from its predecessor, transposing the Fitzgerald sisters from the present day to a 19th Century Civil War base, where it turns out The Curse is alive and well. I have to give the filmmakers credit--as opposed to slavishly sequelizing the first film for a quick buck, writers Christina Ray and Stephen Massicotte and director Grant Harvey have revamped the original "Ginger Snaps" mythos into a mostly successful period piece. "Back" is beautifully photographed, with excellent sets and costumes; the inhabitants of the base (including a general hiding a deformed son) are clichéd, yet ultimately well-drawn; and the undercurrent of themes--from serious Indian spiritualism to the importance of family to the dangers of fundamentalism (among others) are subtly incorporated. While the film's anachronistic feel threw me for a loop, the well-intentioned performances (sans any self-referential irony) kept me watching...above all, Isabelle and Perkins display the same sisterly devotion that gave the first "Ginger Snaps" its humor and heart--there is an undeniable power to their on-screen interaction that sustains "Back" for its duration.