Killer bear flick ‘Backcountry’ puts big-budget thrillers to shame

Streaming may be a gut punch to the theatrical model, but it lets us catch films we missed the first time around.

The following thrillers made little noise at the U.S. box office. You likely haven’t heard of them, even if you once saw their movie posters fly by while scrolling on Netflix or Tubi. All three are well worth a look. In fact, these indie gems offer thrills that their big-budgeted peers can’t always match.

Cat-and-mouse games never go out of style. Nor do films where a put-upon heroine must do all she can to survive a deranged stalker.

Big-time studios could learn a lesson or two from these indie thrillers.

‘Backcountry’ (2014)

A couple head into the woods for a romantic camping trip. The problem? The besotted Alex (Jeff Roop) wants to impress Jenn (Missy Peregrym), but his survival skills aren’t up to par. Map? I don’t need a map.

Spoiler alert: He needed a map (and a few cans of bear spray).

The mood sours when the pair stumble upon an Irish hiker (Eric Balfour) who flirts with Jenn and undercuts Alex’s romantic plans. That’s just the appetizer to the main disaster course. The lovers aren’t alone in the woods, and a surly black bear is ready for his close-up.

Small cast. Tiny budget. Big, bold thrills. “Backcountry” takes its time introducing the couple in question, so when the bear makes his first, shocking appearance, the stakes are real. This isn’t a horror film in a traditional sense, but the shocks are expertly framed. And the feature’s makeup team has its work cut out for it.

The running time is a taut 92 minutes, perfect for this kind of no-nonsense thriller. Even better? Roop and Peregrym make a believable couple, credibly tender yet resourceful under duress. And said duress is extreme.

“Backcountry” isn’t for the faint of heart, and it will make audiences think twice before their next outdoor adventure. If you only see one “bear in the woods” movie (after “The Revenant”), this is it.

(Available free, with ads, on the Roku Channel.)

‘Beast’ (2018)

We all know how talented Jessie Buckley is after her Oscar-winning turn in “Hamnet.” This British sleeper gave the theatrically trained actress her big-screen debut. She plays Moll, a flighty woman at odds with her loving but cold family. Enter Pascal (Johnny Flynn, Lucius Malfoy in the “Harry Potter” reboot), a troubled type who rescues her when a bar hookup takes a dangerous turn.

Romantic sparks fly. So do accusations that Pascal is responsible for the death of a local woman. He’s nothing but doting to Moll, and she falls for his soulful blend of danger and sincerity despite his Samsonite-level baggage.

Is he as guilty as local law enforcement suggests? Can Moll’s family protect her from him? Or is Pascal the man who can save her from herself? She’s no saint, as a critical part of her backstory reminds us.

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Paul Kaye/Bonnie Schiffman/Getty Images

We know what Buckley can do on screen, but Flynn is note-for-note her equal in this smart, patient thriller. This isn’t a bare-knuckled story with car chases and other B-movie tics. It’s a character study that throbs with tension just below the surface. And while many modern films don’t stick the landing, the final moments of “Beast” are smart, stark, and satisfying. Buckle in.

(Available free, with ads, on the Roku Channel.)

‘Alone’ (2020)

Cat-and-mouse games never go out of style. Nor do films where a put-upon heroine must do all she can to survive a deranged stalker.

Jules Willcox stars as Jessica, a woman mourning the death of her husband. She gets into a road-rage altercation with another vehicle. The car’s driver (Marc Menchaca) later tries to apologize for the incident, hoping they can put it behind them. The two part amicably.

He seems friendly enough, but tell that to Jessica’s Spidey-sense, which spikes during the apology chat.

When they meet again, Menchaca’s character reveals his true, cruel intentions. Once again, a tiny cast and modest budget can’t restrain a story that’s all meat and zero filler. There are no girl-power flourishes or eye-rolling escapes here, just blood-and-guts storytelling with actors who prove equal to the material.

Slick. Taut. Smart. Engrossing. And, sadly, overlooked by media outlets during its COVID-19-era release date. Streaming can right that wrong.

(Available via VOD platforms like Prime Video and iTunes.)