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Alpha” is your basic “boy and his dog” story, except this time the dog is a wolf and the story takes place twenty-thousand years ago. This is marketed as a film about the “origins of man's best friend,” but if you ask me, it’s an ad designed to guilt you into buying your kids a wolf. They’ll want one too after seeing “Alpha.” In fact, the filmmakers should have just called this movie “PUH-PEEEEEE!!!” Because judging by the audience’s oohing and aahing at my IMAX 3D screening, people were all too eager to project their own warm and fuzzy domesticated canine feelings onto a wild animal who would eat them without a second thought.

But let’s play the hand we’re dealt here. The boy, Keda (Kodi Smit-McPhee) is first seen bison hunting with his tribe. He is the son of Tau (Jóhannes Haukur Jóhannesson), the “alpha” of his people. Greatness is expected of Keda, yet he’s a sensitive lad who has a problem with killing the animals. “Life is for the strong!” his father lectures after Keda fails to finish off a wounded animal. “You must earn it!” During the hunt, which is the first of many well-staged and visually arresting set pieces, Keda’s hesitation allows him to be bested by his prey; the result sends him plummeting over a steep cliff.

As Keda falls, “Alpha” suddenly flashes back to a week before. We assume Keda’s fall is part of the climax, but it’s actually the catalyst that sets the story in motion. In a quiet moment during the flashback, Tau tells Keda about the alpha wolf, the animal who leads the pack and to whom the other wolves defer. We also learn some of the tribe’s rituals that will become important pieces of shorthand later. Director Albert Hughes and his editor Sandra Granovsky employ a nice flurry of quick cuts from the opening hunting sequence to bring us back to Keda’s seemingly fatal plunge.

The cliffside ledge where Keda lands is too far for Tau to reach, so he has no choice but to mourn his son and move on. Indeed, Keda’s situation seems hopeless—an attempt to climb in either direction means almost certain death—but screenwriter Daniele Sebastian Wiedenhaupt finds a way out that’s both gleefully unpredictable and absolutely preposterous. There are more scenes like this in “Alpha,” moments where faith and suspension of disbelief are the only things that will carry you through, but the pacing is swift enough to ward off too much contemplation before the next danger befalls our heroes.

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