Dead of Winter (2025)

“Dead of Winter” stars Emma Thompson, Judy Greer, Marc Menchaca, Laurel Marsden, and Brian F. O’Byrne.  Released on September 26, 2025, the film has a woman attempting to rescue a teenage girl.

The film was directed by Brian Kirk, who also directed “My Boy Jack” and “21 Bridges”.  He’s also known for helming the miniseries “Father & Son” and “Great Expectations”.  With the fall season officially underway, Hollywood seems to be a step ahead, presenting a film designed to evoke the chill of winter with its frosty aesthetic.  However, it also highlights that the biting cold is the least of our concerns, as a menacing act set in the snowy landscape proves to be far more chilling than the frigid winds.  You might want to hold off on your early holiday preparations, as this winter-themed thriller is far from a festive joy.  Yet, for thrill-seeking audiences, it offers a compelling reason to embrace the icy atmosphere and even the sinister actions of the kidnappers.  Fortunately, there’s someone brave enough to give the kidnappers more than just a case of pneumonia.  Does this latest rescue mission provide enough thrills to complement the chilling ambiance, or should audiences prefer the comfort of their homes by a warm fire?  Let’s find out.

The story centers around Barb (Thompson), a fisherwoman residing alone in the snowy landscapes of northern Minnesota.  As she mourns the passing of her husband, Barb discovers a dark incident unfolding before her eyes.  She witnesses a teenage girl named Leah (Marsden), who is being held hostage in a cabin by a couple, Purple Lady (Greer) and Camo Jacket (Menchaca).  With no phone service and the nearest town hours away, Barb comes to the stark realization that she is Leah’s only chance for rescue from the dangerous kidnappers. 

This is yet another movie from the independent studio Vertical that I only discovered through its trailer at a mystery movie event.  Similar to my experience with “The Threesome”, “Dead of Winter” piqued my interest due to its intriguing concept and the involvement of notable actors like Emma Thompson.  However, it’s also something that I wouldn’t mind watching at home if I miss the chance to see it in theaters.  The only difference between the two films is that one is more intense than the other.  Nevertheless, they both led to a similar outcome, as I ended up watching "Dead of Winter" anyway during this week’s mystery movie.  Fortunately, I wasn’t entirely surprised by this result, given that most of the mystery movies I’ve seen previously were distributed by Vertical.  That studio certainly knows how to capture our attention with these opportunities, despite their past works being somewhat hit or miss.

So, where does this latest thriller stand in terms of its execution?  I would say it’s somewhere between the chilling waters and the precariousness of thin ice.  “Dead of Winter” delivered what one might anticipate from a kidnapping-themed narrative, featuring a pretty solid framework.  However, that’s not to say that it breaks the ice regarding its established genre formula.  I would describe this film as a wintry “Taken”, but instead of Liam Neeson with a peculiar set of skills, it’s an innocent bystander who’s grappling with a tragic past.  There’s no doubt that audiences relish thrilling spectacles with adept heroes serving justice.  On the other hand, we also don’t mind seeing thrillers involving ordinary individuals saving the day despite going against formidable odds.  Such protagonists add plenty of authenticity and suspense to the narratives as they rely on their wits to outsmart their opponents rather than combat prowess, making the scenario more spine-chilling than catching a cold.  “Dead of Winter” exemplifies this approach through Barb, who finds herself at odds with a pair of kidnappers.

Regarding the screenplay by Nicholas Jacobson-Larson and Dalton Leeb, “Dead of Winter” incorporated almost all of the fundamental elements common in action thrillers, particularly those involving abductions.  Suppose you are going into this film hoping for something unique or refreshing in this save-the-victim scenario.  If that’s the case, then you might find yourself feeling left out in the cold, because as I mentioned before, what you see from its formulaic and restrained premise is what you get.  However, it’s not without its promising aspects, which make the plot somewhat worthwhile, notably Barb’s arc.  Amidst the peril she found herself in, the film focuses on Barb’s navigating grief over her husband’s death, driving her to fulfill his final wish.  Of course, she’s not just an overly grieving woman; she’s also filled with determination in her attempts to rescue Leah, underscoring the film’s theme of persistence amidst danger.  The film also tried to portray the kidnappers with a degree of “sympathy” through their reasons behind this heinous act, though we all know that kidnapping is a crime, regardless of the motive.  While these elements prove to be enjoyable in some cases, they barely cracked the icy surface of its screenplay, providing a conventional plot that’s somewhat more barebones than thematically deep.

My previous encounter with Brian Kirk’s filmography was in 2019’s “21 Bridges”, one of Chadwick Boseman’s final movies.  I didn’t find anything particularly special in that action thriller, but thankfully, Boseman was one of the few elements that got me invested in its premise.  Six years later, we now have Kirk trying to impress me again with “Dead of Winter”, which is a far cry from what he delivered in a movie involving cop killers.  Notably, “Dead of Winter” is set against the stark, snowy backdrop, contrasting sharply with the bustling city environment of “21 Bridges”.  However, Kirk’s knack for suspense remained the same, although this film was quite understated in its handling of thrills.  Watching Emma Thompson evade or confront the kidnappers is quite engaging.  Unfortunately, Kirk struggled to maintain this narrative momentum to evoke a sense of fear in a harmless person fighting for their life, despite a couple of solid moments of violence.  Even his approach to the film’s emotional beats didn’t strike much of a chord as it should have, especially in the third act.  Brian Kirk did show some competence as a director, particularly in utilizing Christopher Ross’s cinematography to capture the expansive, icy landscapes.  It’s the fact that he might be restraining himself from what he’s hoping to achieve in his cinematic vision.

Along with the cinematography and some passable thrills, the appeal of “Dead of Winter” was carried by Emma Thompson, who has been impressing me through her works I’ve seen so far.  It’s odd seeing her in an action role that Liam Neeson would’ve tackled, but regarding Barb’s background and characteristics, I honestly wouldn’t pick anyone but her to fill in her shoes.  Thompson embodied this broken-hearted protagonist with a sense of innocence, sorrow, and vulnerability, especially in reflective scenes where the film slows down its thrills to focus on her and her flashbacks.  Her performance is another reason why I enjoyed Emma Thompson as an actress.  She possesses an impressive talent in portraying characters who are resilient, comical, or even heartfelt, but she’s also not afraid to convey subtle emotion into protagonists like Barb.  Judy Greer also delivered a commendable performance as one of the kidnappers, known only as “Purple Lady” due to her wearing a purple snow suit.  Her character is quite unstable and dangerous, but it's her tragic motivation behind her actions that makes her a scary adversary, which was supported by Greer’s decent acting range.  Laurel Marsden, known for playing Zoe Zimmer in “Ms. Marvel”, continued to showcase her big-screen presence through her portrayal of Leah, and the result was good enough to demonstrate her potential, notably in conveying her character’s terrorized expressions.

Overall, “Dead of Winter” doesn’t quite break the ice with its narrative, but it offers enough chilling moments to avoid falling into cinematic pneumonia.  It presents itself as a fairly straightforward thriller that’s warmed up by Emma Thompson’s presence and its authentic suspense.  However, Brian Kirk’s barebones execution of the premise may not be cozy enough to bundle up those seeking a more gripping venture into snowy territory.  While it possesses some promising elements in the screenplay that could’ve thrived with the right director in mind, some of those aspects don’t resonate with me on a storytelling level as much as others.  It’s a fine enough watch if you’re in the mood for a simple thriller featuring an A-list actor or two, though this snowy region isn’t something I would be eager to revisit during winter break anytime soon.   

C+