A young couple (James Marsden and Kate Bosworth) moves to a quaint southern town. Soon their perfect getaway turns out to become a living hell when dark secrets and lethal passions spiral out of control. Trapped by a pack of depraved locals led by a ruthless predator (Alexander Skarsgrd, TV’s “True Blood”), they face a night of agonizing suffering and endless bloodshed. Now their only hope for survival is to become more savage than their merciless torturers. Also starring two-time Academy Award Nominee James Woods (Best Actor, Salvador, 1986 and Best Supporting Actor, Ghosts of Mississippi, 1996).  Forty years after Sam Peckinpah's hugely controversial 1971 original, Rod Lurie adapted and directed a new version of Straw Dogs, with a very deliberate change of location and an updating of the social context. Instead of being set in Britain, the story now takes place in small-town Mississippi, where Hollywood screenwriter David Sumner (James Marsden) is moving with his wife Amy (Kate Bosworth). She grew up in Blackwater, which she aptly refers to as "backwater," but has since become a much-desired TV actress. In their isolated house, David will write while Amy's ex-beau (Alexander Skarsgrd) repairs the adjacent barn with his redneck buddies. In drawing the unease between this effete, conflict-averse intellectual and the swaggering, flag-waving, God-fearing locals, Lurie ( The Contender) seems to be aiming at the hostility between red state/blue state America in 2011. But the movie breaks down when it gets to the sadistic plot turns that lead to the savage finale, a siege in which David is pushed to his primal self. In the Peckinpah film, this was a hellish and ambiguous exorcism, but here the events just seem ugly, and the movie loses control of its perspective about halfway through. James Marsden is a game actor, but he can't be as convincing a bookworm as Dustin Hoffman was in the original film. Kate Bosworth's ambivalence is the most interesting thing at play here, as she suggests the marriage might have been less than perfect all along. That subtle discontent is more intriguing than the movie's lurid collapse into ultraviolence. --Robert Horton