Synopsis and Art Work: Red Snow
Ray Winstone has gone from hunting CGI monsters while hiding the salami Austin Powers-style to heading off in pursuit of a psycho who digs on hunting chicks in Stuart St. Paul’s flying-under-the-radar slasher/thriller Red Snow.
The film, based on a short by Adam Mason, will be directed by St. Paul working from a screenplay that he penned. How news of this one has remained under wraps for so long remains a bit of a mystery, but we won’t let it slip by any longer!
Check out the artwork and synopsis below courtesy of the official Red Snow website.
Synopsis
Declan likes to hunt. Although he’s learnt most of his hunting skills from watching cable television, he enjoys nothing more than leaving his family behind, taking his light airplane for a spin over Canada’s snowy outdoors, landing at his log cabin high in the mountains, and venturing out for a spot of hunting. He takes pride in his sport.
There’s only one problem. Declan likes to hunt a different sort of prey than most outdoorsmen.
Declan hunts women. To the death.
Hand-picking the fittest, most ‘sporting’ women, Declan kidnaps them from his tourist-haven hometown, sedates them, ties them up, sews their lips together, and flies them to his remote retreat. Once they have recovered sufficiently, he lets them loose, gives them a head start, then sets out with his high-powered rifle, getting his kicks from the thrill of the chase.
He knows what he is doing. “A woman is not like a deer, there is no silence. No stillness in the last moments. They scream and shout. I could use a bow to hunt a deer but, for a woman, I can’t get that close. For a woman, I prefer a gun.”
Declan has slain plenty of women up in those snowy mountains. And now he has a new, fresh piece of meat that he plans on tasting.
But Lazenby (Winstone) and the local police have other ideas. They know they have a serial killer on the loose, but they are struggling for leads. With Lazenby, the hotshot ‘case profiler’ brought in, they might have a chance. If only Lazenby could get on with the local cops – and they could bring themselves to trust the shadowy outsider who never seems to give a straight answer.
As Declan embarks on his latest hunt, so do the police. Hunter becomes prey, and prey can quickly become hunter.
When his latest potential victim proves she is not yet ready to die, Declan has to call on all of his survival skills. When Lazenby proves there is more to him than meets the eye, then the police and Declan are in the biggest danger of all.
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