Ginger Snaps Back is actually the first encounter I've had with the Red one and the Black one. By this I mean I have yet to see the original, (or it's sequel) I figured it might be in my best interest to see the Prequel first, thereby entering the original and "it's sequel" armed with plenty of backstory and a silver bullet or two, (by which I mean Coors Light - do they still call them that?) Perhaps I should imbibe Molson instead, out of respect for this highly-thought-of Canadian werewolf franchise.

Had I not known that Ginger Snaps Back was actually the third release in a trilogy of sorts, I would have enjoyed the picture just as much as I actually enjoyed the picture . . . where am I going with this? I feel a little funny . . . and what's this scratch on my arm? Oh my God, I'm turning into a "Were-critic" Soon I'll start to look like Gene Shallit or, god forbid . . . Hairy Knowles. God help us all! Man I'm hungry. I could eat a horse . . . whisperer. What's happening with me, I swore-off Red Meat years ago? Alright, enough with the Boneman meets the Wolfman.

Unenlightened as I was, the Ginger Snaps Back doesn't make one feel like an interloper into this Canadian Gothic world, the story starts off with the sisters Ginger (Katherine Isabelle - who resembles a redheaded version of Sheryl Lee of Twin Peaks fame) and Brigette (Emily Perkins) walking in the snowy wilderness. By using jump-cut clips of disturbing images (think NIN videos) it is clear to the viewer that there is something more to these two lost and hapless waifs than meets the eye. Before long they happen onto a ruined Indian encampment whereupon an old (let's call her) Native American woman imparts a cryptic warning to the sisters. "Kill the boy, or one sister will kill the other," she warns them before vanishing mysteriously just before Brigette steps into a bear-trap. With the solemn promise to return before the raven-haired sister can count to one hundred, Ginger sets off in search of help. During her quest for assistance Ginger is beset by a strange creature, but is rescued by a handsome young Brave before she is hurt. With the two injured gals in tow, the Brave makes his way through the woods and leads the girls to the "safety" of a trading post, that is populated by a dozen or so weird-acting men.

We have already learned by means of sub-titles at the beginning that this fort is in the grip of hard times, as the party that has been sent to trade for supplies are late in returning and feared lost. Right away we notice that these men are uncharacteristically reluctant to allow these two young hotties into their midst. Why would these men, so obviously bereft of female companionship, be less than jubilant about the prospect of two HYT's joining the party, you ask? Well, as it turns out, they're pretty much scared shitless, because as of late the fort has fallen under the attack of a pack of enormous wolf-like creatures.

Actually the fort is populated by a talented group of indie film actors including Hugh Dillon as a beleaguered preacher on the verge of hysteria. The commanding officer of the fort (David LaHaye) we learn has recently lost his wife to a wolf attack, which his young son survived but has been kept under lock and key, as he was wounded in the attack and hasn't been himself since. Curiosity killed the cat, as it is often said, and on the first night in the fort Ginger is awakened by a strange noise and follows it to a room where she sees what she thinks is a small boy locked inside. Her maternal instincts in high gear, she unlocks the room to investigate and for her trouble receives a bit of a nip on the shoulder by the youngster who isn't quite as helpless as she thought. The boy escapes during the fray and Ginger returns to her room with the beginnings some serious character development.

Cinematographer Michael Marshall has done a wonderful job creating this mythic and dark atmosphere, and the creatures and their resultant gore are all effectively committed to film. I won't give away anymore of the story line, but I will say that, for the most part, Ginger Snaps Back is a cleverly written and well executed thriller. The look of the period piece is flawless and the only wrinkle to be found was when Ginger utters the line, "these people are fucked." The film would have been better served to have stayed true with the authenticity of the time frame, but what are you gonna do? Some of these characters just aren't themselves during certain phases of the moon.