However, there is one really great bit of nuance that Sheridan brings to the direction table, something I'm not seen before, which was perspective shots of a character who was just maced. The vision is narrowed and blurry and red. It heightens the tension of the scene, as the character navigates through a perpetrator's house. It's a good marriage between the visual, the situational, and the presentation (editing), and how all three elements can be used to craft tense moments. The downside is that it's the first really great scene and comes at around the 1 hour mark of an 110 minute film.

The story moves at a rather slow pace with moments of heart wrench and armrest grip. It's a rather tight and concise script, but I think it's Sheridan's worst to date. It beats you over the head with the predator/prey theme in a very on the nose way, which isn't present in Sicario or Hell or High Water. And if you're unwilling to agree with me here, let me paint a very Bob Ross picture.

The film opens with a woman running in the snow afraid for her life. The shaky cam following her implies that maybe someone's following, but you know in the pit of your stomach this isn't the case and you also know that she's probably been violated. The next scene is a standoff between some sheep and a wolf or coyote, who gets blown away by Renner, which is an obvious predator and prey parallel (this isn't intellectual Eisenstein). Again, we see the predatory theme take place within the first act when Renner is hired to catch three mountain lions (a mother and two cubs) who've slaughtered a steer on the Native American reservation. The tracking of these predators leads to the prey of the deceased woman from the beginning of the film. Renner even says later on in the first act, "I'm a hunter of predators." Sheridan just beats you over the head with this theme in far too obvious a way.