Misery porn, ‘Murican style.

This debut thriller from writer, director, producer and cinematographer John Beaton Hill tells the desperate stories of two childhood friends, haunted and torn apart by the tragic events of their shared past. It’s a twisted tale of betrayal and revenge, death and demons, as Tom Grey finds purpose in penitentiary – to hunt the man who put him there.

The Wolves of Savin Hill is a grim and gritty watch, and while the warped past that would shape the future of the two lead characters unfolds in an intriguing, almost Christopher Nolan-y manner, all tension is let down by very poor execution. From the shoddy camerawork to the appalling sound mix, the film feels distinctly amateur, and it’s evident that Beaton Hill doesn’t yet have the auteur chops to pull off a whole film by himself.

Throw in some dead wood acting and a bizarre pop-punk musical montage, and what we’re left with is a glimmer of a good idea turned into a miserable mess.

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Childhood friends from Boston drift apart following a shocking discovery deep in the woods of Savin Hill. Years later a tragic murder brings them together again. But for one man, it’s no mistake. A trap has been set… After serving time for a crime he didn’t commit, TOM GREYS is released from prison with a score to settle: he is dead-set on tracking down the man who set him up… his childhood best friend and L.A. cop, SEAN O’BRIEN. Ravaged by his friend’s betrayal, Tom hunts Sean through the streets of Los Angeles and finds himself trapped in a web of lies only a devil could weave. After years of gut-wrenching deception, it can only end with one man standing.

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