Traveling along a lonely stretch of French backwoods to nowhere in particular, Charlotte (Émilie Dequenne, FISSURES/ECOUTE LE TEMPS) picks up hitcher Max (musician Benjamin Biolay). While it's undoubtedly dangerous to pick up hitchhikers, brooding Max seems like a safe bet next to the trio of bikers (Georges Lini, Philippe Résimont, and Brice Fournier) that have threatened both of them with rape. Charlotte is less pleased about Max's decision to pull into the delapidated roadside cafe of La Spack (Yolande Moreau, MICMACS) until she pulls a shotgun on the bikers. Max gets up to use the restroom and never comes back. Charlotte searches the restroom and notices a covered door. After confiding her concerns to retired cop Chinaski (Philippe Nahon, HIGH TENSION), she sneaks back into the cafe in the middle of the night only to be knocked unconscious. She wakes in a cage with two other prisoners who La Spack and her son Max plan to feed to a pack of blind, fanged, subterranean flesh-eating creatures (credited as Golems at Imdb). Meanwhile, Chinaksi has grown suspicious of La Spack and her son and Charlotte may have to join up with the depraved bikers against La Spack and the monsters. For all the effort that went into THE PACK and its good central cast - with the exception of the bland Biolay - the film is a rather slight effort (although it is a mercifully short eighty minutes with about five or six minutes of that consisting of the opening and end credits). After setting itself up as a torture film, it thankfully veers off into the monster movie realm. First time feature director Franck Richard does provide the viewer with some surprises in the second half of the film (Chinaski is not as easily disposable a secondary character as he at first seems, although the reversal involving Max later in the film is less credible). The monsters are well-designed and there is a fair amount of gore (although there is also some CGI blood), but the climactic siege sequence is not particularly exciting. Richard does some interesting things with the sound design during this scene when a gun is fired next to Charlotte's ear, temporarily deafening her, but overall it feels less like a product of the new wave of French horror and more like a calling card to Hollywood. Hopefully, Richard's next film will be something more daring and not a bad American remake of an Asian horror film.