The Wolfman (2010) – Review

In 2010, Universal aimed to resurrect a classic monster with modern visual effects and a star-studded cast, not to mention having legendary make-up artist Rick Baker on hand, but the result was a moody, occasionally stunning film that struggled under the weight of its ambition. Let’s journey back in time and enter the foggy moors and see what happened.

Set in the fog-drenched moors of Victorian England, our story begins with Lawrence Talbot (Benicio Del Toro), a brooding actor with a penchant for tragic stares. After a lifetime of avoiding his creepy family estate, Blackmoor, he’s lured back by the mysterious death of his brother, Ben. Turns out Ben was mauled to pieces under mysterious circumstances. (Hint: It’s not a bear.) Ben’s grieving fiancée, Gwen Conliffe (Emily Blunt), convinces Lawrence to stay and investigate, because who better to solve a gruesome murder mystery than a Shakespearean actor with daddy issues?

 

“Couldn’t we get someone to call Hercule Poirot?”

Upon arriving at Blackmoor, Lawrence reunites with his estranged father, Sir John Talbot (Anthony Hopkins). Sir John is a strange, wild-eyed man who seems a little too comfortable with the ominous howls echoing through the night. He claims he’s locked the family’s past behind a thick layer of eccentricity, cryptic warnings, and an alarming number of animal skulls. Nothing suspicious here, right? While snooping around for answers, Lawrence stumbles into a local tavern and learns that Blackmoor has a reputation for werewolf attacks, a fun local legend that everyone treats as fact. The villagers’ advice? Don’t go into the woods. His father also recommends staying inside during the full moon, So, naturally, Lawrence ignores all that advice and while investigating a gypsy encampment, things go from bad to worse.

 

Mind you, a lot worse for others.

While tracking the beast through the fog, Lawrence is bitten during a particularly gruesome encounter and is only saved by the timely arrival of some gun-toting locals. Despite his serious wounds he somehow survives (thanks to the not-so-tender ministrations from the gypsies), but he’s not quite the same afterwards. Not only does he rapidly heal, but his senses have sharpened, his strength increases, and he develops an unhealthy love for moonbathing. The local villagers, led by the determined Inspector Aberline (Hugo Weaving), start to piece together the connection between Lawrence’s newfound glow-up and the violent attacks happening around Blackmoor. Unfortunately, a posse and a passel of silver bullets aren’t enough to stop this “new and improved” Lawrence Talbot.

 

Cue a dark and bloody night.

Things get even more complicated when Sir John drops a bombshell: not only is Lawrence turning into a werewolf, but lycanthropy runs in the family. Yep, dear old dad has been rocking the werewolf curse for years and is surprisingly nonchalant about it. In fact, he kind of enjoys it. Cue a father-son bonding moment in which Sir John explains the joys of werewolfing out while ominously sharpening his claws. The film culminates in an epic werewolf-on-werewolf battle as Lawrence and Sir John face off in the ruins of their ancestral home. Think of it as family therapy but with more growling, slashing, and roaring fires. Meanwhile, Gwen must decide if her love for Lawrence is strong enough to handle his other half or if she should consider putting him down with a silver bullet—a tough decision when your boyfriend keeps eating your neighbours.

 

“So, he’s a dog.”

Stray Observation:

• People who walk through dark and spooky forests and call out “Show yourself!” are just asking to be attacked by a werewolf. Darwinism in action.
• That Lon Chaney Jr. was supposed to be the son of Claude Rains in the 1941’s The Wolf Man was always a bit of a stretch, a tradition this sequel continues with Benicio Del Toro playing the son of Anthony Hopkins.
• Lawrence meets a man with a silver wolf-headed cane that he acquired in the Village of Gévaudan, France, which makes this a reference to both the original film and Brotherhood of the Wolf.
• That Inspector Aberline would immediately suspect Lawrence is ridiculous. He wasn’t around when his brother was killed, and several locals witnessed the “creature” attack him. No wonder he wasn’t able to catch Jack the Ripper, as he’s clearly a terrible investigator.
• No matter what Lawrence was wearing previously, the Wolfman is always in the same clothes post-transformation, which was the case in the 1941 original as well.
• Our tragic hero had spent most of his life in America, only to come to London and become a werewolf. You could almost say, “He’s an American Werewolf in London.”
• Lawrence stays alive long enough to thank Gwen for shooting him and reassures her that it was the right thing to do, similar to the ending of Werewolf of London (1935).

 

This movie takes stalking quite literally.

When Universal Pictures greenlit 2010’s The Wolfman, the vision was clear: resurrect a classic monster for a modern audience, blending the gothic elegance of the 1941 original with contemporary filmmaking techniques. What unfolded instead was a textbook example of how not to approach a remake. This had all the makings of a modern horror classic: a rich legacy to draw from, an A-list cast, a celebrated director in Joe Johnston, and an Oscar-winning makeup effects artist in Rick Baker. Yet, despite its potential, the film stumbles, burdened by a clunky script, uneven performances, and a tonal identity crisis that leaves it howling in frustration rather than triumph. The cast, while impressive on paper, delivers mixed performances. Del Toro captures the torment of Lawrence’s curse but often feels too subdued, as if sleepwalking through his role. Hopkins, on the other hand, gleefully chews the scenery, teetering on the edge of camp. Blunt is underutilized, her character relegated to the familiar “tragic love interest” archetype, while Weaving’s Aberline brings a welcome dose of sharpness and determination.

 

“Why, Mr. Talbot? Why, why? Why do you do it?”

One area where The Wolfman earns praise is its visual design. The Victorian-era setting is beautifully realized, with shadow-drenched forests, foggy moors, and grand but decaying mansions providing a suitably eerie backdrop. The set design and cinematography transport the viewer to Victorian England, drenched in eerie fog and moonlight. If this remake succeeded in any area, it was in its visual presentation. The production design, cinematography, and Danny Elfman’s haunting score created a rich gothic atmosphere. The Victorian-era setting, with its shadowy forests and crumbling mansions, was a feast for the eyes. However, these aesthetic triumphs were not enough to compensate for the film’s narrative and tonal shortcomings.

 

It does have some nice cinematic werewolf moments.

Sadly, a defining feature of The Wolfman is its heavy use of CGI, particularly in the transformation sequences and action scenes. While Rick Baker’s practical effects work—most notably in the werewolf makeup—was superb, the film undermined this craftsmanship by overlaying it with excessive computer-generated imagery. The werewolf transformations, a hallmark of the genre, felt sterile and unconvincing due to the CGI’s weightlessness. Unlike the visceral, painful transformations seen in classics like An American Werewolf in London, this movie’s digital approach failed to evoke the same sense of awe or horror. Similarly, the action scenes, such as the climactic battle between Lawrence and Sir John, were marred by cartoonish effects that broke the immersion.

 

When werewolves go bad.

In conclusion, Joe Johnston’s The Wolfman is a missed opportunity—a film with the potential to rejuvenate a beloved monster mythos but one that falters under the weight of its ambitions. While it boasts some striking visuals and moments of genuine horror, it ultimately succumbs to uneven storytelling, misaligned performances, and an over-reliance on CGI. What should have been a modern Gothic masterpiece instead feels like a beautiful but hollow shell.

Dog Soldiers (2002) – Review

Before werewolves were sexy and CGI ruled the night, Neil Marshall’s Dog Soldiers tore onto the screen with a snarling blend of blood, guts, and pitch-black humour. Set deep in the Scottish Highlands and drenched in practical effects, this cult horror-action hybrid pits a squad of unlucky British soldiers against a pack of terrifying beasts—and it doesn’t let up for a second. Let’s sink our teeth into what makes this low-budget creature feature such a ferocious fan favourite.

The movie kicks off with a vicious attack on a couple of campers by something monstrous, adding more reasons to never go camping – but from here on out, we follow a group of British soldiers on what is supposed to be a routine training mission in the remote Scottish Highlands. Led by Sergeant Wells (Sean Pertwee), the squad includes Private Cooper (Kevin McKidd), who has been recently reassigned after a tense encounter with a ruthless special ops Captain, Richard Ryan (Liam Cunningham). During their training, the soldiers stumble upon the remains of a Special Forces team, slaughtered by unknown assailants, and they soon realize they’re being hunted by something deadly lurking in the woods.

 

Who will survive?

As night falls, the soldiers are ambushed by a pack of massive, relentless werewolves. Which is not a good thing. Desperate to survive, they seek refuge in a secluded farmhouse, where they meet Megan (Emma Cleasby), a zoologist who warns them about the creatures’ nocturnal nature. Unfortunately, she may have her own brutal agenda when it comes to the pack of werewolves harassing them. The squad quickly turns the farmhouse into a fortress, fighting off wave after wave of attacks from the werewolves, who seem determined to wipe them out. Supplies and ammunition dwindle, and tensions rise as the soldiers struggle to make it through the night.

 

It’s not a teddy bear’s picnic.

Stray Observations:

• Missing campers are explained away as the result of “an escaped lunatic,” which is the same phrase to describe Jack and David’s attacker in An American Werewolf in London.
• Some of the corpses hanging around in the basement were originally created for and used in the 1997 sci-fi horror classic Event Horizon, which also featured Sean Pertwee.
• Cooper breaking through the bathroom wall to the bedroom mirrors the scene in 1964’s Zulu, where Pvt. Hook is in the Hospital as the Zulus break in.
• One of the soldiers in this movie is called Bruce Campbell, an obvious nod to the iconic star of the Evil Dead movies. Sadly, this particular Campbell doesn’t even make it to the second reel.
• A silver letter opener killing a werewolf, set up in the film’s cold open, is similar to the silver-topped cane in 1941’s The Wolf Man. A Chekov’s Gun of werewolf killing, if you will.
• While silver is their weakness, the film doesn’t explicitly state whether or not the full moon has any effect on a werewolf’s transformation.

 

The ever-fluid rules of lycanthropy.

Writer/director Neil Marshall makes the most of a modest budget, relying on practical effects that give the werewolves a visceral, real-world weight. And those werewolves! These aren’t your CGI fluffballs; they’re lanky, towering, wolf-headed beasts that hunt in packs, making every encounter nerve-shredding. Dog Soldiers also doubles down on clever survival-horror tactics. The soldiers, holed up in a tiny farmhouse with limited ammo, pull off some makeshift tricks that add to the film’s underdog charm. Plus, it’s refreshing to see characters who don’t make dumb horror-movie decisions – these guys are soldiers, and they act like it, using what little they have with ingenuity and grit.

Note: Neil Marshall claims he wrote this film as a knee-jerk reaction to An American Werewolf in Paris, which he thought was terrible.

The film’s secret weapon is its sharp dialogue and comradely banter amongst this group, which keeps you laughing even as the situation goes from bad to worse (and to “even worse than that”). The squad’s ragtag humour in the face of absolute carnage feels natural and earned, with standout lines like “I hope I give you the shits!” becoming fan favourites. The cast brings just the right mix of tough-guy grit and hopeless camaraderie as they realize there’s no cavalry coming to save them. And yes, it’s gory – but it’s the fun kind of gory. Watching this squad of soldiers desperately trying to stay one step ahead of these relentless werewolves, patching each other up with duct tape and household supplies, is an absolute blast. It’s a horror movie with grit and guts (literally) but doesn’t take itself too seriously, which makes it a scream to watch with friends.

 

This werewolf film is not for the squeamish.

The practical effects for the werewolves are a standout element, giving the creatures a towering, nightmarish presence that is more terrifying because it feels so real. Opting for practical effects over CGI, Marshall creates a sense of physical danger that few modern horror films manage to achieve. The werewolves are shown sparingly but effectively, lurking in shadows and making sudden, brutal appearances that keep the tension high throughout, helped by Sam McCurdy’s excellent cinematography.

 This isn’t a slick Hollywood horror movie; it’s raw, a little grimy, and a lot of fun, perfect for fans who appreciate practical effects, a generous helping of gore, and characters who react like real people would if faced with monstrous creatures in the woods. It’s no wonder Dog Soldiers has become a cult classic – it’s brutal, it’s funny, and it delivers on a simple promise: werewolves versus soldiers in a no-holds-barred fight for survival. A must-watch if you love horror with a side of gallows humour and a lot of bark (and bite).

Ginger Snaps (2000) – Review

Oh, Ginger Snaps—the gory, grisly, gloriously goth answer to everyone who thought high school couldn’t get worse than a bad hair day. This isn’t your typical coming-of-age horror flick; it’s a film that says, “Hey, adolescence is already terrifying, so let’s just throw in some werewolves to make it interesting!” And it’s also a Canadian-made horror film, so bonus points for that.

Directed by John Fawcett and written by Karen Walton, Ginger Snaps follows the story of two teenage sisters as they grapple with puberty, alienation, and the horrors that unfold when Ginger is bitten by a werewolf. Known for its dark humour, feminist undertones, and bold approach to body horror has cemented its place as a cult classic in the horror genre. This is a dark, furry thrill ride of teenage rebellion and werewolf transformation that will make you wonder if puberty really does bite — literally!

 

This movie isn’t on the fence when it comes to horror.

The film begins by introducing Ginger (Katherine Isabelle) and Brigitte (Emily Perkins), two goth-inclined sisters who are obsessed with death and the macabre, which makes them outcasts in their suburban town of Bailey Downs. Their familial bond is close-knit, forged by shared macabre fascinations and an undying disdain for the high school social hierarchy. Their morbid fascination with death leads to them staging elaborate scenes of their own gruesome deaths, which they photograph for their school projects. This does not go over all that well. They have a pact to escape their dull lives together, and they share a grim promise to die together rather than live apart.

 

Sisterhood of the Travelling Pants, this is not.

The central plot is set in motion when, one night, Ginger gets her first period, an event she has dreaded, and on that same night, she is attacked by a mysterious creature — The Beast of Bailey Downs had been savaging the local dogs.  The fact that it turns out to be a werewolf shouldn’t be too much of a shock. The attack leaves her injured, but she quickly begins to heal, and soon she starts undergoing physical and emotional changes that mirror the symptoms of both puberty and lycanthropy. Her body begins to transform in ways that terrify Brigitte, as she notices Ginger becoming more aggressive, sexual, and animalistic. Ginger grows more distant from Brigitte and begins to adopt a rebellious, dangerous personality, embracing her new “predatory” side. As time goes on, keeping these “changes” from their well-meaning but clueless mother (Mimi Rogers) becomes tougher and tougher.

 

“Do you think anyone will buy this as Morning Sickness?”

Brigitte, determined to save her sister, seeks help from a local drug dealer and biology enthusiast named Sam (Kris Lemche), who has some knowledge of the supernatural. Together, they attempt to find a cure for Ginger’s transformation. Sam provides them with a potential antidote derived from monkshood, but Ginger’s condition rapidly worsens, and she becomes fully uncontrollable. The film escalates as Brigitte tries desperately to reconnect with Ginger, but their bond is increasingly strained by Ginger’s metamorphosis. As Ginger becomes increasingly aggressive, unpredictable, and sensual, Brigitte struggles to find a cure, ultimately putting her loyalty to her sister to the test.

 

Can Velma and Shaggy save the day?

Stray Observations:

• The moniker “The Beast of Bailey Downs” could be a nod to “The Beast of Gévaudan” which terrorized south-central France between 1764 and 1767 and featured in the film Brotherhood of the Wolf.
• Among the students paged over the school’s PA system are Samuel and Theodore Raimi, known of course for the Evil Dead movies, with Sam Raimi an executive producer of this film.
• Both Katherine Isabelle and Emily Perkins have been in multiple episodes of the TV series “Supernatural,” and each actress has appeared in episodes of “The X-Files.”
• The film is set in the fictional town of Bailey Downs, where 15 years later the movie A Christmas Horror Story was also set.
• Ginger and Bridgette wear bone necklaces that reminded me of Marsha Quist from The Howling, and once turned Ginger gains the same strong sexuality.

 

Ultimate Girl Power.

Ginger Snaps uses the werewolf transformation as a powerful metaphor for puberty and the tumultuous journey of self-discovery. The film poignantly examines how societal pressures on young women shape their identities, sexuality, and relationships with their bodies. Ginger’s transformation is set in motion by her first menstrual cycle, aligning with classic horror tropes about “monstrous femininity.” However, Ginger Snaps twists this trope by portraying Ginger’s metamorphosis as both horrifying and empowering, embodying the conflicting emotions that many adolescents experience during puberty. While Buffy fought vampires and Carrie went telekinetic, Ginger faces her inner beast—and gives us a wild, biting, and bloody look at the nightmare that is adolescence. It’s like The Breakfast Club with fangs and way fewer feel-good moments.

 

Even the school guidance counsellor couldn’t help.

The film also highlights the deep-seated fears of female sexuality in society, with Ginger’s newfound physicality symbolizing the fear and attraction surrounding young women’s sexual awakenings. As her transformation progresses, Ginger becomes more assertive and sexually confident, challenging traditional notions of femininity and chastity. Her animalistic urges stand in contrast to societal expectations for young women to remain passive and submissive. This exploration of female sexuality within a horror framework offers a fresh and provocative take on the werewolf mythos.

Ginger Snaps is notable for its raw and metaphorical approach to teenage transformation, using the werewolf myth to examine puberty, identity, and sisterhood in a way that is both terrifying and touching. It has since gained a cult following for its unique blend of horror and dark humour, as well as its feminist undertones and subversive take on werewolf lore.

 

She’s the ultimate bitch.

At its core, Ginger Snaps is a story about sisterhood and the painful process of growing apart as individuals mature. Ginger and Brigitte’s relationship is the emotional backbone of the film, serving as both the narrative’s driving force and its most poignant element. Their bond initially appears unbreakable, but Ginger’s transformation strains this connection, forcing Brigitte to confront her own fears of isolation and dependency. Brigitte’s loyalty to Ginger is tested as she is forced to confront the monster her sister has become. This evolution explores the complexities of sibling relationships, especially as one person grows and changes in ways the other cannot understand. The sisters’ bond also illustrates the struggle between maintaining individual identity and upholding family loyalty, a theme that resonates universally.

 

Sibling rivalry, anyone?

Director John Fawcett and cinematographer Thom Best utilized classic horror tropes but distinguished itself with a unique visual style that balances the grotesque with the darkly comedic. The film’s special effects, though modest by today’s standards, are impressive for their time, using practical effects to create a visceral transformation for Ginger that feels organic and disturbing. This grounded approach to body horror complements the film’s themes, enhancing the visceral discomfort of witnessing Ginger’s bodily changes. Moreover, the film’s suburban setting plays a crucial role in its horror elements. The idyllic neighbourhood contrasts sharply with the darkness within the Fitzgerald household and the psychological chaos consuming Ginger. This setting reflects the dissonance between societal expectations of young women and the inner turmoil they face as they grapple with their identities.

Note: The director refused to have CGI effects in the film, opting for all of the special creature effects to be done with prosthetics and makeup

In conclusion, Ginger Snaps stands as a powerful, layered film that transcends its horror roots to deliver a thoughtful and gripping exploration of growing up, female identity, and the complexities of sisterhood. Through its clever use of the werewolf transformation as a metaphor, it offers a raw, unapologetic take on the challenges of adolescence and the pressures placed on young women by society. Over two decades since its release, Ginger Snaps remains a relevant and influential film, reminding audiences that the scariest transformations are often the ones that happen within.

Wolf (1996) – Review

In 1996, director Mike Nichols gave us one of those wild movies that threw together big stars, a dose of supernatural intrigue, and a generous splash of thriller drama, all while taking itself just a little too seriously. To be fair, the werewolf has always been the ugly stepchild of the horror genre, so maybe taking it seriously could work. Let’s take a look and find out.

The plot of Wolf centres on Will Randall (Jack Nicholson), an aging, once-successful book editor who feels his career and personal life are in a bit of a decline. He is demoted from his position due to the machinations of his ruthless and ambitious protégé, Stewart Swinton (James Spader), who has charmed their boss, Raymond Alden (Christopher Plummer). But to make matters worse, Will discovers that Stewart is having an affair with his wife, Charlotte (Kate Nelligan). Could that come back to bite Stewart in the ass? Struggling with these revelations, Will feels betrayed and powerless. If only something could enter his life that could give him the edge needed to tackle all these problems.

 

“I was thinking of taking the family to the Overlook Hotel.”

Cue the French Horns from “Peter and the Wolf” as our movie kicks off with Will swerving to avoid a large wolf in the road, but he cannot avoid hitting it. Concerned, he steps out to check on the animal, only to be bitten by the wolf as it regains consciousness before disappearing into the woods.  Soon after, he begins to notice strange changes within himself. His senses sharpen, and he experiences heightened energy and confidence. However, as the effects deepen, he finds himself becoming more aggressive, territorial, and uncontrollably violent. His transformation is both literal and metaphorical, as his “inner wolf” embodies the primal instincts he has long suppressed. These newfound attributes prove advantageous in his professional life, helping him to fight back against Stewart and reclaim his position. Let’s just say, the script isn’t interested subtleties when it comes to his transformation.

 

“It’s says here that you are going to piss on my shoes.”

During this transformative period, Will meets Laura Alden (Michelle Pfeiffer), the intelligent and rebellious daughter of his boss, Raymond. Despite their differences, the two develop a romantic connection, with Laura being both intrigued and concerned by Will’s erratic behaviour, which grows more intense as the days pass. As Will’s transformation deepens, he realizes he’s becoming a werewolf. His instincts become more primal, and he starts to lose control of his actions, particularly at night. Will initially relishes his new abilities but soon fears the darker side of his transformation and turns to Dr. Vijav Alezais (Om Puri), a mystic and scholar who warns him about the curse he’s under and suggests that he may be able to resist full transformation by controlling his impulses. Of course, asking Jack Nicholson to control his impulses is a pretty tall order.

 

“Here’s Johnny?”

Unsurprisingly, the final act pits Will against Stewart, who has also been bitten and transformed into a werewolf. It’s here where the full extent of Will’s transformation is revealed, as he embraces his wolf-like nature and turns on those who have wronged him. In this final confrontation, Will and Stewart battle in a primal showdown that determines who will survive with the curse, with Laura witnessing the savage fight and finally understanding the true nature of Will’s transformation. And we are left pondering “Can a woman and a beast find common ground, and will true love prevail? And if so, will Laura be arrested for bestiality?”

 

A tale as old as time.

Stray Observation:

• The wolf that Randall hits was simply standing in the middle of the road, as if simply waiting to get hit, and as we see its pack waiting in the wings, one has to wonder if this is how they recruit new members.
• To prove this is a serious movie and not some cheap monster flick, the word “werewolf” is never said; instead, we get “demon wolf,” which is so much better.
• Randall finding out that his new abilities turn out to be not so great in the long wrong does remind a little of Seth Brundle in The Fly.
• In this film, we see a were-creature visiting a zoo, which is not unlike what happens in the classic Val Lewton film Cat People.
• This is the second time Michelle Pfeiffer has fallen in love with a wolf in a movie. The first was the 80s movie Ladyhawke.

 

I guess she has a type.

It goes without saying that the casting of Jack Nicholson was one of the film’s best aspects. Known for his intense and expressive style, Nicholson brings a raw, visceral energy to Will, portraying both his vulnerability as a man past his prime and the dangerous charisma of a predator. Nicholson’s ability to channel menace without relying solely on the supernatural elements of his character adds depth to Will’s transformation. Michelle Pfeiffer’s performance as Laura Alden, the daughter of Will’s employer, adds another layer to the story. Laura is drawn to Will’s animalistic energy, and her character is crucial in exploring the film’s themes of attraction, danger, and transformation. Their relationship is tense and filled with an underlying sense of foreboding, mirroring Will’s inner conflict.

 

This movie is heavier on the romance than the horror.

A sticking point with fans may be with the film’s transformation sequences as they are subtle, more psychological than physical, aiming for a metaphorical change as much as a visceral one. The special effects feel a bit restrained for a werewolf movie, but the understated approach aligns with the film’s reflective tone, focusing on character psychology over sheer horror. That the transformations were supervised by legendary make-up effects man Rick Baker, who gave us the best werewolf transformation in cinema history in An American Werewolf in London, certainly didn’t hurt this project but I can see some people leaving a little disappointed as this particular werewolf is more in keeping with Henry Hull in Werewolf of London and not more modern interpretations.

 

His bark is worse than his under bite.

To be fair, director Mike Nichols wasn’t out to make a monster movie.  Thematically, Wolf is a meditation on the nature of power and transformation. As Will becomes more “wolf-like,” he becomes both liberated and haunted by his own power. His transformation gives him newfound confidence but also isolates him, highlighting the film’s exploration of alienation and duality. Wolf presents a unique take on the werewolf story, focusing on psychological horror and the gradual, inevitable loss of control that comes with unchecked power. Will’s animal side brings him success and satisfaction, but it also distances him from his humanity, suggesting that succumbing entirely to one’s baser instincts leads to inner conflict and, ultimately, tragedy.

 

What the hell, humanity is overrated anyway.

And while psychological introspection is all well and good, the key problem here is the movie’s attempts at a slow-burn horror atmosphere, with its pacing at times feeling sluggish, resulting in some of the suspense being lost along the way. Nichols directs with his usual sophistication, crafting visually engaging shots that build an eerie, moody ambience. Yet, the film never quite plunges fully into horror, remaining more of a thriller with supernatural elements. Once again, this choice might be a bit disappointing for horror enthusiasts hoping for a genuinely frightening werewolf transformation.

 

It’s a far cry from what we got in An American Werewolf in London.

Ultimately, Wolf is more than a simple horror film about werewolves. It is a thought-provoking exploration of identity, power, and the instincts that lie beneath the surface of civilized behaviour. Mike Nichols’ direction and Jack Nicholson’s performance make Wolf a memorable, if unconventional, entry into the horror genre. It’s a film that questions the cost of ambition and the sacrifices that come with releasing the beast within, reminding viewers that sometimes the true horror lies not in the transformation itself, but in the loss of self that comes with it. As for werewolf fans, this is a movie that promises a bite but settles more for a scratch.

An American Werewolf in Paris (1997)

In 1981 the horror genre got one of its most influential offerings in the form of John Landis’ dark horror comedy An American Werewolf in London, arguably containing the best werewolf transformations ever put to film, then sixteen years later we got a sequel that left us asking, “Was it worth the wait?”

The sequel centres on American tourist Andy McDermott (Tom Everett Scott) and his escapades through Paris, where he stumbles into a nightmarish world of Parisian werewolves. The film opens with Andy and his two friends, Brad (Vince Vieluf) and Chris (Phil Buckman), who are on some kind of European daredevil tour where you gain points for performing outlandish stunts. While they’re out exploring Paris, these thrill-seekers decide to bungee jump off the Eiffel Tower. It’s here that our hero, Andy, inadvertently saves a young woman named Serafine Pigot (Julie Delpy), who is also attempting to jump from the tower, but not in the extreme sport kind of way, more the “End it All” sort of way. Captivated by her mysterious demeanour, Andy becomes determined to find Serafine again, but after tracking her down, he discovers she is hiding a dark secret—she’s a werewolf.

 

Well…nobody’s perfect.

It turns out that Serafine’s affliction stems from a bloodline of cursed individuals, and she fears she may endanger those around her, particularly Andy, who seems increasingly smitten. As the story unfolds, Andy’s interest in Serafine leads him deeper into the werewolf underworld of Paris. One night, Andy and his friends are lured to an underground nightclub, “Club de la Lune,” where they are ambushed by a group of werewolves who want to increase their numbers by feasting on unsuspecting tourists. In the chaos, Andy is attacked and bitten, thereby infecting him with lycanthropy. And we must ask the question, “Can true love survive in the face of such adversity?” Sadly, I couldn’t have cared less. Instead of generating chemistry or tension, their interactions are so painfully forced that you wonder if they even like each other, let alone if there’s a cursed love story at play.

 

Beware of supernatural STDs.

What follows is standard werewolf stuff, with Andy starting to experience unusual symptoms, such as heightened senses, aggression, and uncontrollable transformations during the full moon, not to mention murdering tourists and police detectives. As he comes to grips with his new reality, he realizes he’s now part of a werewolf conspiracy involving an organized pack, that includes Serafine’s stepfather, who plans to continue transforming humans into werewolves. He also has to deal with the ghosts of American tourist Amy Finch (Julie Bowen), who wants him to kill himself so that she can stop being an undead spirit. We also have Brad’s ghost, who pops in and out of the movie to drop some new werewolf lore. The biggest addition to this is the fact that you can, apparently, cure lycanthropy by eating the heart of the werewolf that bit you. Sure, why not?

 

“Do either of you have a clue as to what’s going on?”

Stray Observations:

• The opening credits state, “Based on Characters Created by John Landis in An American Werewolf in London” but no characters from that film appear in this sequel.
• Does anybody else think bungee jumping off the top of the Eiffel Tower is an exceedingly stupid and a most likely fatal idea?
• The eyes of the werewolves in this movie have cat or fox-like vertical slit pupils. Wolves have round pupils. Come on guys, at least get your werewolf biology right.
• This sequel changes up the mythology of the werewolf from the first one; in this outing you are super-strong in human form and drink smoothies made of raw human hearts. Not to mention becoming more bipedal at times.
• Both Amy and a police detective are killed by Andy when he goes all wolf-man, but only Amy becomes a “rotting sidekick” while the detective vanishes from the movie. Why didn’t he make the cut as a spiritual advisor?
• If you want to watch a better movie that deals with a werewolf cult? Check out Howling II: Your Sister is a Werewolf. It’s gloriously bad, but also a lot of fun.

 

This film could really have used Sybil Danning.

Without a doubt, one of the film’s biggest shortcomings was its over-reliance on CGI effects, which, while innovative for the time, have not aged well. The transformations lack the visceral impact of Rick Baker’s iconic makeup and practical effects from the original, with these CGI werewolves looking almost cartoonish, stripping away the fear factor that made the original’s transformation scene so terrifying. Rather than inducing terror, these computer-generated werewolves were futile in bringing any sense of horror to the table, instead, they undercut each moment, as the cartoonish CGI failed to create any real sense of a threat.

 

Even Scooby-Doo and Shaggy wouldn’t find these things scary.

Unfortunately, while the CGI may have been thin the characters themselves were even thinner. Andy is likable enough but underdeveloped, and the chemistry between him and Serafine is surface-level at best, reducing what should be a compelling supernatural romance to an awkward fling. Serafine, meanwhile, is shrouded in mystery, but instead of intrigue, she comes across as half-heartedly written, with motivations and a backstory that are too loosely connected to the plot. Despite Julie Delpy’s talent, her character feels out of place, unable to bring any true depth to the story. And while the idea of exploring werewolf lore in new contexts was interesting, the execution felt half-baked, leaving the cult subplot more distracting than compelling.

 

How is it possible to make a werewolf cult this boring?

There is also the issue of tone. Where An American Werewolf in London found the right balance of humour and horror, this entry seems uncertain of its own identity, often veering into slapstick without warning. Certain sequences try to evoke comedy through bizarre stunts and jokes, which only come off as out-of-place distractions, and it’s this inconsistency in tone that leaves you wondering if you should laugh or be frightened, achieving neither effectively. This movie has no idea what it wants to be. Is it a horror comedy? A love story? A coming-of-age tale about American bros in Europe? You can almost hear the filmmakers scratching their heads mid-production, throwing in slapstick one moment, attempting romance the next, and then suddenly expecting us to feel scared.

 

Even werewolf-on-werewolf action couldn’t save this movie.

In the end, An American Werewolf in Paris is an uninspiring sequel that failed to capture the magic of its predecessor, instead, it leaned into clichéd horror tropes resulting in a film that has few scares, little heart, and even less charm. Ultimately, this werewolf offering is an unfortunate example of a sequel that misreads what made its predecessor so memorable, offering instead a patchwork of horror and humour that never quite meshes.