Jen and a group of friends set out to hike the Appalachian Trail. Despite warnings to stick to the trail, the hikers stray off course—and cross into land inhabited by The Foundation, a hidden community of mountain dwellers who use deadly means to protect their way of life.

Credits: TheMovieDb.

Film Cast:

• Jennifer Shaw: Charlotte Vega
• Darius Clemons: Adain Bradley
• John Venable: Bill Sage
• Milla D’Angelo: Emma Dumont
• Adam Lucas: Dylan McTee
• Edith: Daisy Head
• Scott Shaw: Matthew Modine
• Gary Amaan: Vardaan Arora
• Luis Ortiz: Adrian Favela
• Nate Roades: Tim DeZarn
• Ruthie: Rhyan Elizabeth Hanavan
• Hobbs: Chaney Morrow
• Ed Jenkins: Cory Scott Allen
• Aileen: Amy Warner
• Chief Abernathy: Richard Hagerman
• Morgan / Deer Skull: Damian Maffei
• Standard / Wolf Skull: Mark Mench
• Cullen / Wild Boar Skull: David Hutchison
• Samuel / Elk Head: Chris Hahn
• Corrine: Valerie Jane Parker
• Cooper: Richard Davis
• Ogden: Heru Lasana
• Reggie: Daniel R. Hill
• Jackson: Brady Gentry
• Bar Patron: Daphne Matthews
• Lloyd Pettigrew: Gary Ray Stearns
• Cave Person: Jeremy Ambler
• Cave Person: Jennie Malone
• Standard Double: Bret Aaron Knower
• Ted Nothum: Brian Searle

Film Crew:

• Producer: Robert Kulzer
• Casting Director: Nancy Nayor
• Executive Producer: Martin Moszkowicz
• Production Designer: Roshelle Berliner
• Editor: Tom Elkins
• Co-Producer: Dylan Tarason
• Executive Producer: Alan B. McElroy
• Second Unit Director: T.J. White
• Executive Producer: Christian Oliver
• Stunt Double: Chris Gann
• Producer: James Harris
• First Assistant Director: Doug Turner
• Casting Associate: Dominika Posserén
• Production Supervisor: Brianna Lee Johnson
• “B” Camera Operator: Anthony J. Rickert-Epstein
• Title Designer: Mike P. Nelson
• Steadicam Operator: Dean Smollar
• Additional Editor: Clayton Condit
• Line Producer: Jon D. Wagner
• Foley Artist: Tara Blume
• Dialogue Editor: Michael Baird
• Sound Re-Recording Mixer: Jason Dotts
• Foley Mixer: Geordy Sincavage
• Foley Artist: Monique Reymond
• Sound Mixer: Chris Polczinski
• Music Editor: Michael T. Ryan
• Assistant Sound Editor: Mark Coffey
• Stunts: Chris Hahn
• Executive Producer: Shanan Becker
• Executive Producer: Bill Bromiley
• Executive Producer: Ness Saban
• Costume Designer: Gina Ruiz
• Stunt Double: Janelle Beaudry
• Stunts: Amy Greene
• Post Production Supervisor: David Scharf
• Stunts: Brian Searle
• Weapons Master: Bryan Staerkel
• Assistant Property Master: Stephanie Postich
• Hair Department Head: Scott H. Reeder
• Utility Stunts: Tim James
• Location Manager: Alan Forbes
• Makeup Department Head: Jodi Byrne
• Costume Supervisor: Robin Fields
• Stunt Double: Ryan Sturz
• Set Dresser: Ryan Tudor
• Digital Imaging Technician: Eric Ransbottom
• Foley Editor: Alexander Jongbloed
• Stunt Double: Curtis Lyons
• Gaffer: Mike Dickman
• Executive Producer: Jonathan Saba
• Carpenter: Brett P. Jackson
• Boom Operator: Tash Ann
• Dolly Grip: Mike Dittiacur
• Set Designer: Ryan Goertz
• Dialect Coach: Rea Nolan
• Hairstylist: Anna Maria Reyer
• Second Assistant “A” Camera: Joe Bou
• Digital Compositor: Kyle Sim
• Digital Compositor: Greg Lamar
• Utility Stunts: Richard Fike
• Electrician: Dylan Algie
• Transportation Captain: Craig Metzger
• Stunt Double: Lydia Hand
• CG Supervisor: Erin Nicholson
• Compositor: Jean-Paul Ear
• Digital Compositor: James Rumas
• Set Designer: Geza Kassai
• Stunt Double: Xavier Luo
• Art Direction: Scott Daniel
• Graphic Designer: Samantha Drake
• Set Decoration: Stephonika W. Kaye
• Script Supervisor: Claire Tanner
• Key Makeup Artist: Beki Ingram
• Special Effects Supervisor: Kyle Roberts
• Key Hairdresser: Samantha Maloney
• Stunt Double: Juliene Joyner
• On Set Dresser: Nick Pirrmann
• Second Assistant Director: Tami Kumin
• Original Music Composer: Stephen Lukach
• Stunt Double: R. Matthew Scheib
• “A” Camera Operator: Alexander Elkins
• Director of Photography: Nick Junkersfeld
• Executive Producer: Fiona Yang Li
• Makeup Artist: Amber Johnson
• Special Effects Makeup Artist: Ryan Shaddelee
• Second Second Assistant Director: Casey Shelton
• Scenic Artist: Mark C Barnett
• Leadman: Andy Flynn
• Set Dresser: Nick Laughlin
• Special Effects Technician: Antonio Grassano
• Visual Effects Supervisor: Kevin Chandoo
• Stunt Double: William Haithco III
• Stunt Double: Cody Bo Kruger
• Stunt Double: James Ortiz
• First Assistant “B” Camera: Michael Wooten
• First Assistant “A” Camera: Geoffrey Storts
• Sound Re-Recording Mixer: Ted Teske

Movie Reviews:

• JPV852: It was okay. Glad it wasn’t just a rehash of the original (which I have a little fondness for, as many issues that one had). This one seemed to have elements of The Witch to me and at least found it mildly entertaining and I liked Charlotte Vega in the lead. However, found the six main characters to be just dumb asses, but maybe that’s the most realistic element, I can see 20-somethings going off-trail like that. Anyway, doubtful I’ll ever watch (anytime soon) but probably worth a rental. **3.0/5**
• BeanieCore: I’ve long said that if you’re going to bother remaking a film, it either needs to be a genuine continuation of the original, or a reboot, that offers a different spin on the same basic concepts. This film certainly falls into the latter category, but that’s about the only thing it does right. Everything else, from writing to acting is an unbelievably cringey misfire, that manages to offend and belittle every demographic, in nearly equal doses. This isn’t a film for right-wingers, and though it tries to be, it’s not one for the left either. It’s simply a catastrophic mess, that takes one of the most basic premises in horror history, and tries to use it for social commentary. I’m all well and good with politics in my cinema, even horror, and I’m a very left-leaning individual, but there’s a way to imbue progressive values in a film, and a way not to. This is a masterclass on how not to.

  The basics for a decent horror flick were here. At it’s core, the film’s bones are still very much structured after the backwoods horror that inspired the original “Wrong Turn”. Where this film differs is in it’s treatment of the hillbillies themselves. There’s no slobbering, deformed monster-men here. Instead, we’re given a cult-like group, with a very nomadic culture. Supposedly the ancestors of a group that headed into the mountains during the Civil War, and intended to create a free, equal society based on primitivism. The film’s horror elements are decent, especially the variety of deadly hunting traps littering the forest for wayward travelers to stumble into. These moments provide some memorable, sometimes shocking set-pieces, but that’s the only positive beyond decent enough direction.

  Where the film goes wrong is in it’s socio-political tones. Backwoods horror has long commented on the disparity between rural peoples and so-called “city slickers”, but this film is overbearing in the heavy-handedness it uses to drive home this point, with the subtlety of a sledge hammer. The main characters are a group of clichés, each meant to tick off a minority status. I want to make it clear, I’m not saying that from a reactionary point of view, the characterizations are simply insulting and the dialogue sounds as if it was written by a bratty child. The characters are needlessly and viciously antagonistic to the rural peoples, before they even get on the mountain. Once they do reach the mountain, the film’s “clever twist” becomes quickly apparent. Not long after the group begins wandering into the traps, it becomes apparent that the mountain dwellers are not trying to kill them. These kids are simply setting off hunting traps by being off the beaten path, but when they see the fiercely dressed cultists, speaking tongues, they assume they are in danger and thus attack. This is the film’s un-subtle commentary on society’s tendency to misunderstand other cultures and pre-judge based on appearance.

  All would be well and good, except that the cult themselves are no better than these bougie, ignorant city kids. They deal out their own twisted brand of “an eye for an eye” justice, and turn out to be nothing more than a hyper-traditionalist group of rapists, that may not be as benign as the film paints them in the middle segment. Still, there’s hardly anyone to root for. It quickly becomes apparent that the cult are nothing but barbaric heathens, but the kids make so many poor choices and intentionally provoke violence instead of being mature adults. The film unironically could have ended well for everyone if certain characters had kept their mouths shut, but this is one of those scripts in which the entire plot hinges on everyone being as vapid as possible. In the end, despite it’s pretensions to say something progressive, it ends up painting both left, right and everything in between as idiocy. Couple this with dialogue so poor that it evokes laughter, and this is a bizarre effort that I can’t believe ever saw wide release. We can only hope this train-wreck doesn’t somehow inspire a slew of increasingly lousy sequels as the original film did. Because this one already set the bar as low as possible.

• Kamurai: Really good watch, would watch again, and can recommend.

  This has very little to do with the original other than weird people hunting people in the woods.

  This movie surprised me quite a bit, I just didn’t expect it to take the story form that it did. The cast all did a great job, and the story is well written in layers.

  The movie also does something I’ve noticed some movies have been doing somewhat recently where the movie ends, but continues with what feels like a new story, related to the first. Other movies have done this (though much more sloppily) in the past, but I feel like writers have started to do this on purpose, to very good effect.

  The movie is good at keeping the audience in the dark to what is going on, and being brutal with the characters in rather interesting ways.

  If you like slasher / horror at all, definitely give this a watch.