At its core, the grim, gritty and blood-soaked “Eight for Silver” is a skillfully fashioned yet philosophically thin twist on the werewolf saga.
And yet, in the opening moments of Sean Ellis’ dark-hued and gory gothic horror, you might briefly mistake the monster-themed film you’re about to watch for Sam Mendes’ “1917,” with Ellis’ stylish camera cruising ahead through a crammed trench of masked French soldiers, about to be fatally hit by the mustard gas.
It’s a gut-wrenching moment, made even more violent when Edward, among the attack’s bullet-wounded victims, reaches a hospital tent in the next scene, a grubby place replete with merciless buckets of amputated limbs and the screaming bodies from which they’ve been separated.
Edward doesn’t survive the “Battle of the Somme,” but an unusually large silver bullet plucked from his body — “not a German bullet,” we overhear — gets sent home to
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