Wolves often find themselves overshadowed by their lycanthropic cousins when it comes to the horror genre. Audiences seem to prefer the spectacle of a monstrous half-man, half-beast hybrid prowling under a full moon to the relatively "ordinary" menace of Canis lupus. Perhaps their resemblance to our pet dogs makes them feel less menacing - so we sort of want to pet them rather than fear them. Yet, while wolves are undeniably beautiful creatures deserving respect, humanity's fear of them has deep historical roots. If you've ever encountered one up close, you’d know they possess the physical capability to rip your throat out. A single wolf could be deadly; face a pack, and your odds diminish drastically - gun or no gun.

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Given their predatory prowess, it’s surprising we don’t see more killer wolf films. While shark movies dominate the animal horror genre, wolves make only occasional appearances. Among the standout entries are The Grey (2011), starring Liam Neeson, and other films like Adam Green's Frozen (2010) and Hold the Dark (2018). Canadian director Adam McDonald, who impressed with the bear-centric survival thriller Backcountry (2014), revisits the genre with Out Come the Wolves, this time trading ferocious bears for...well, wolves.

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The film centres on Sophie (Missy Peregrym) and her partner Nolan (Damon Runyan), who retreat to a secluded cabin for a peaceful getaway. Sophie, a country girl (who has recently turned vegan), and Nolan, a preppy city-dweller, are in the early stages of building a promising relationship despite their contrasting backgrounds. Their tranquil escape is interrupted by Sophie’s old friend Kyle (Joris Jarsky), who arrives alone after his girlfriend cancels due to work commitments. With Kyle’s arrival, the dynamic subtly shifts, as he and Sophie share a history—including a one-night stand—which adds an undercurrent of tension.

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Despite this, the trio seems to settle into a relatively harmonious rhythm. Kyle, an experienced hunter and tracker, agrees to teach Nolan a few wilderness skills for an article he’s writing. The two men set out on a hunting expedition, with Sophie urging Kyle to look after her less-experienced partner. However, deep in the forest, their roles as hunters are quickly reversed. Unbeknownst to them, they are no longer the top predators. A pack of ravenous wolves is watching, and the tables are about to turn.

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Much like Backcountry, Out Come the Wolves relies heavily on the strength of its central performers. Particularly in the first half, the film functions as a relationship drama set against the rugged, isolated wilderness - far removed from civilisation. In the unforgiving environment, where safety is far from assured and survival depends on cooperation, the dynamics of relationships are put under a microscope. These types of situations tend to amplify the strengths - or expose the weaknesses - of those involved. When the central trio finds themselves out of sync, their struggle becomes exponentially more challenging.

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Interpersonal tensions, hidden secrets, firearms, and hungry wolves make for a volatile and compelling mix. Fortunately, screenwriter Enuka Okuma deftly crafts all three protagonists as flawed yet likeable, subtly encouraging the audience to reconsider their perspectives on a couple of them when chaos inevitably unfolds. Runyen, Peregryn, and Jarsky deliver strong performances, which is crucial given the film’s reliance on their interplay. While the first half occasionally lags, the three leads manage to sustain engagement and keep the audience invested in their plight.

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Naturally, the most anticipated moments come when the trio finally confronts the titular wolves. When making a film about predatory animals, comparisons to other canine flicks - such as Joe Carnahan’s The Grey - are inevitable. In this regard, Out Come the Wolves falls a bit short. Matching the intensity and grandeur of scenes with Liam Neeson squaring off against a pack of wolves is no easy feat, especially given the disparity in scope and budget. While the sequences here are far from subpar, there’s a sense that the post-attack gore serves to compensate for some relatively average action set pieces. That said, capturing convincing performances from real wolves is no small feat, and credit is due for avoiding the use of CGI, which could have detracted significantly from the film’s gritty realism.

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The abrupt ending does the film no favours though and will leave some viewers with a sense of frustration. This is partly a result of a rather unbalanced narrative. The first hour is heavily focused on developing character dynamics and whilst that’s great and this attention to detail adds depth, it ultimately delays the action, which arrives later than it ideally should. A tighter first act - shaving off five minutes or so - and an extended survival horror sequence in the final act could have provided a more evenly paced and satisfying experience. As it stands, the film concludes just as it begins to hit its stride, leaving the audience wishing for a more fulfilling resolution when the credits roll.