Dead of Winter (2025) is directed by Brian Kirk, featuring a screenplay by Nicholas Jacobson-Larson and Dalton Leeb. It stars Emma Thompson, Judy Greer, Marc Manchaca, Laurel Marsden, Gaia Wise, Cuan Hosty-Blaney, Brian F. O’Byrne, Dalton Leeb, Paul Hamilton, and Lloyd Hutchinson. The film follows Barb (Thompson), an aging Northern Minnesota bait shop owner who sets out to visit the frozen lake where she and her recently deceased husband shared their first date. On the way there, she takes a wrong turn, leading her to a remote cabin where it’s clear something sinister is afoot. Upon further investigation, she discovers a teen girl (Marsden) being held prisoner in the basement. With no cell service and the nearest town hours away, Barb initiates an impromptu rescue mission, but is soon forced to face the captors, a desperate criminal couple who intend to harvest the young girls’ organs so one of them can receive a life-saving transplant. Outgunned and wrestling with the fresh trauma of her husband’s death, Barb is forced to use her superior Minnesotan wit in an attempt to turn the tables and save the day. 

Emma Thompson’s performance is reminiscent of Frances McDormand’s Marge Gunderson from Fargo (1996). Some Minnesotans will be quick to point out that McDormand’s performance is over-the-top accent-wise (which it is), but I’d more appropriately describe it as intentionally amplified. This works exceptionally well in Fargo because nearly every other element is ‘amplified’ to a similar extent. Whether the absurdity/unreality is cranked up one notch or seven, it’s most effective when it applies to each element of the film equally. So, despite Thompson’s Minnesotan accent being a touch less hammy than McDormand’s, it feels less believable because it’s out of synch with many of the film’s cold, darkly tragic moments. The film is keenly aware of its Fargo influences and generally works well when it focuses on the lighter humor of Northern Minnesota life. Unfortunately, the comedy and drama don’t mesh particularly well; the script seems unsure if it wants to make us laugh or cry.

My identity as a full-blooded Minnesotan equips me to appreciate some of the film’s handful of subtle in-jokes about living in the state during its long, harsh winters. Furthermore, I enjoyed the accurate portrayal of Barb’s general attitude as an aging Minnesotan. She’s selfless in a way that’s reminiscent of the generation of women who raised me, almost foolishly so. She helps people simply because they need help, without a second thought about whether they actually deserve it. On top of this, she reminds me of my own grandmother (and even my father) in the sense that no matter how intensely dangerous their situation might become, using curse words is still a big NO-NO. Nothing cries “Minnesotan!” like a frustrated “Gall Darnit!” instead of “God Dammit!” The only element about her portrayal that doesn’t track is her winter driving abilities. I swear to you that no one her age, living where she does for as long as she has, would ever be such an incompetent winter driver. 

The story here is mostly predictable, rehashing the same beats of countless other generic, darkly comedic crime films. I was able to see nearly every plot development from a mile away, which is disappointing, but not as devastating a flaw as one may think. Despite being predictable, the experience is well-paced and makes excellent use of its contained setting/location. It feels as if the filmmakers are somewhat aware of the many cliché elements, making sure not to drag them out a second longer than necessary. Barb is also a likable enough protagonist that the viewer can enjoy the ride on her personality alone. This all culminates in an ending that isn’t surprising or original, but is fitting, well-executed, and satisfying. 

Overall, this is a formulaic backwoods thriller that should nonetheless work for most fans of the genre, thanks to the quality with which it executes its many familiar story elements. For viewers such as myself who have a connection to the setting, there’s a lot of fun to be had with Emma Thompson’s admirable Minnesotan protagonist, Judy Greer’s atypical villain, and Marc Manchaca’s unexpected comic relief. The story comes together nicely by the end, but its attempt to be equally humorous and gut-wrenching never quite pays off. For Minnesotans who like the genre, it’s a decent watch. B