The Curse of the Werewolf (1961) – Review

With this entry, Hammer Films sinks its claws into the werewolf mythos with Gothic flair, delivering a moody, atmospheric take on lycanthropy, and with the great Oliver Reed as the title creature, this had all the earmarks of being a horror classic. What could possibly go wrong?

Set in 18th-century Spain, The Curse of the Werewolf begins with the tragic tale of a beggar (Richard Wordsworth) who is imprisoned and brutally mistreated after offending a cruel nobleman (Anthony Dawson). Years later, the beggar’s fate intertwines with that of a mute servant girl (Yvonne Romain) who is also subjected to cruelty within the nobleman’s household. The servant eventually escapes but is raped by the beggar before he dies in his cell. The result of this traumatic union is Leon, a child born on Christmas Day—a circumstance that, according to local superstition, curses him with a monstrous destiny.

 

Puberty is a bitch, especially when you’re cursed.

Adopted by a kind couple, Don Alfredo Corledo (Clifford Evans) and his servant Teresa (Hira Talfrey), Leon grows up in a loving home but begins to show signs of a horrifying affliction. As he reaches adulthood, his cursed bloodline reveals itself in violent, uncontrollable episodes that coincide with the full moon. Leon (Oliver Reed) struggles to suppress the beast within, yearning for normalcy and love. He finds hope in the form of Christina Fernando (Catherine Feller), the daughter of a wealthy landowner, whose affection seems to soothe his tortured soul. However, Leon’s attempts to lead a normal life are thwarted as his transformations into a werewolf grow more frequent and deadly. Despite his own anguish and the efforts of those who care for him, Leon’s curse consumes him, leaving a trail of tragedy in its wake.

 

Can beauty soothe this savage beast?

Tormented by his condition and desperate to prevent himself from harming others, Leon seeks help, but his transformation into a werewolf becomes inevitable. As his monstrous side takes hold, the townspeople grow increasingly terrified, leading to a climactic confrontation in which Leon’s tragic fate is sealed. This is a Gothic tale of fate, love, and monstrous duality, one that explores the human struggle against inherited darkness, set against Hammer Studios’ signature backdrop of richly atmospheric horror. Sadly, what it doesn’t have is much in the way of werewolf action and the final confrontation, in the bell tower of a church, seems abrupt and rather anti-climactic.

 

“Has anyone seen a hunchback?”

Stray Observations:

• Joe Dante named one of the characters in The Howling after director Terence Fisher, who helmed this werewolf outing.
• When the baby is taken to the church to be baptized, a storm rolls in and the baptismal font begins to boil. I started to wonder if the kid was supposed to be a werewolf or the anti-Christ.
• This may star Oliver Reed as the titular werewolf, but he doesn’t show up until the 47-minute mark of a film that only runs 93 minutes.
• That we don’t get to see Reed in full werewolf make-up until the film’s last ten minutes will most likely disappoint fans of werewolf movies.
• The interiors of the inn where Leon is staying is the same interior from Dracula’s castle in 1958’s Horror of Dracula. Sadly, we never got a sequel where Oliver Reed fought Dracula.

 

“I could totally take on Frankenstein’s Monster.”

This was Oliver Reed’s first credited screen role, and with his portrayal of Leon, we get a nice brooding intensity, giving a heart-wrenching depiction of a man tortured and now begging to be murdered for the things he’s done. He brings a mix of vulnerability and raw power that elevates the character beyond a typical monster archetype, and his transformation scenes—while not all that impressive — are emotionally charged and showcase his physicality, but it’s Reed’s intensity and charisma that elevates what might otherwise have been a clichéd role. Unfortunately, the rest of the cast is not so compelling, ranging from over-the-top performances to nothing more than walking stereotypes. Except for Catherine Feller as Christina, their romance is both poignant and romantic, adding nicely to the whole cursed aspect and is the last bit of glue that holds this film together.

 

The ultimate in complicated relationships.

As with most Hammer productions, the film excels in creating a rich, Gothic atmosphere, with sets that are drenched in shadows and candlelight, and the use of Spanish architecture and costumes adds an exotic layer to the usual Hammer aesthetic. As for the werewolf itself, the makeup, designed by Roy Ashton, is iconic in its simplicity, emphasizing Leon’s anguish as much as his monstrous nature. The transformation sequences are restrained but effective, relying on clever editing and Reed’s physicality rather than flashy effects. And the attacks themselves mostly happen in shadow, or we just see some furry hands. The gore is also limited; Hammer Films were not known for their restraint when it comes to blood, but this werewolf film has surprisingly little blood.

 

That’s pretty mild for a werewolf attack.

Thematically, The Curse of the Werewolf attempts to explore the tragic consequences of violence and cruelty, as Leon’s curse stems from the circumstances of his illegitimate birth, born of a mute servant raped by a deranged beggar. This origin story is unconventional and ambitious, aiming to weave social commentary into the fabric of the horror genre. However, the film falters under the weight of its own ambition. The opening act, which spends an inordinate amount of time detailing the grim backstory of Leon’s parents, feels overly long and disconnected from the central narrative. By the time the focus shifts to Leon as an adult, much of the film’s momentum has been lost, leaving the middle section to laboriously rebuild tension. Also, it’s not a good idea to have the viewer asking questions like “Am I watching a werewolf film?”

 

Werewolf or not, Oliver Reed was one handsome dude.

In conclusion, The Curse of the Werewolf is an uneven but intriguing entry in Hammer’s filmography. Its evocative atmosphere, Reed’s compelling performance, and the studio’s trademark gothic style make it worth a watch for fans of classic horror. Yet, its sluggish pacing, disjointed narrative, and occasionally problematic themes prevent it from achieving the same heights as Hammer’s best works. And while it may lack the relentless terror of other werewolf films like 1941’s The Wolf Man – lacking much in the of werewolf action – its unique blend of Gothic melodrama and psychological depth ensures it leaves a lasting impression. It’s a must-watch for fans of classic horror and those who appreciate the artistry of Hammer Films.

Twisters (2024) – Review

 Let’s face it: when the original Twister blew into theatres in 1996, we got a very unique disaster movie. It gave us flying cows, exploding tractors, and Bill Paxton’s intense weather-channel eyes. Fast forward nearly 30 years, and 2024’s Twisters spun its way onto the screen with a bigger budget, smarter storms, and a level of drama that makes the original look like a light breeze. The big question: “Does it suck you in or leave you feeling windswept and empty?”

As with the original, this film follows a group of storm chasers – or “Tornado Tamers” as they call themselves – as the hunt down the titular twisters, but in this outing, the central character is Kate (Daisy Edgar-Jones), a reluctant storm chaser trying to move past the trauma of losing some of her teammates to a tornado in her home state of Oklahoma a few years ago. Is it me, or do all scientists in these types of films have a traumatic back story? Wracked with guilt, Kate had quit storm chasing and moved to New York City and now works for NOAA (National Oceanic and Atmospheric Administration), where the chances of encountering bad tornadoes are very slim. Enter Javi (Anthony Ramos), the one other surviving member of her original team, who is now working for mobile tornado radar company Storm Par. He offers Kate a position with his team to test a new tornado scanning system using phased-array radar, and maybe find some love from an old friend. Sadly, while the first movie had many people ending up in the “Suck Zone,” poor Javi finds himself trapped in the “Friend Zone.” Of course, we’ll learn that Javi’s motivations are not entirely altruistic.

“Tell me, are you in it for the money?”

Kate initially declines Javi’s offer, but when she sees a news report of a town being destroyed by a tornado, she decides to get back in the saddle and maybe save some lives. Now, we may question the odds of a “Once in a Generation” tornado season, but when you have movie gods on your side, this kind of stuff happens all the time.  So, with her passion turned back on, Kate is off and running back to Oklahoma to see if she can finally make a difference. Soon upon arrival, she has an encounter with popular YouTube storm chaser Tyler Owens (Glen Powell), known as the “Tornado Wrangler,” and despite these two having an insane amount of chemistry and an F5 worth of sexual tension, they somehow manage to avoid having sex during this film’s entire running time. Instead of doing the “Devil’s Tango,” they will buckle down and strap in and figure out how to make her old science project work and save the day.

Atmospheric and sexual tension are at an all-time high.

Stray Observations:

• The original film featured eight tornadoes, while this sequel has ten, which raises the question, “Does having two more tornadoes justify the pluralization of the sequel’s title?”
• In this movie, tornadoes keep popping up and catching crowds unaware, which is all kinds of bullshit, as Oklahoma TV stations have teams of trained spotters deployed, a helicopter for each station, and multiple forms of advanced radar to track storms. But a hero has to hero.
• In the original film, the rival storm chasers drove black vans because they were “In it for the money,” while Javi and his team are in white trucks, but they are also in it for the money. I’m confused.
• Despite the tornadoes tossing cows, barns, and entire houses, the team’s trucks always comes out suspiciously unscathed, with just a few scratches; they are basically the Chuck Norris of vehicles.
• Benthic Petroleum, the fictional oil company that owns the deep-sea oil rig in The Abyss, owns the oil refinery that explodes and creates a fire tornado in this flick.
• Tyler explains the formation of tornadoes as “It’s part science … and part religion.” Sorry, dude, it’s all science.
• Our heroes are constantly spouting advice to the locals as to where to go and what to do when a tornado is approaching, as if every person in Oklahoma wouldn’t already know this.

They are experts at pointing out the blatantly obvious.

One of the most challenging aspects of creating a sequel to an iconic film is balancing nostalgia with innovation. Twisters manages this by including subtle nods to the original film while introducing a fresh story. The inclusion of cameos from the original cast members, though brief, pays homage to the first movie and honours its legacy, particularly through heartfelt references to Bill Paxton’s character. These moments ground the film in its roots, offering fans a sense of continuity. However, this sequel deviates from the intimate storytelling of the original, favouring a broader narrative with higher stakes. While the original film focused on a small team of storm chasers and their personal connections, the sequel expands the scope, featuring a new generation of storm chasers tackling increasingly catastrophic storms. This shift in focus reflects the growing concerns about climate change and its role in producing more severe weather phenomena. While these themes add a layer of relevance, they sometimes feel underexplored amidst the action-packed sequences.

Is climate change responsible for Firenados?

As for the film’s lovely tornadoes? On that, it definitely delivers. The tornadoes in this movie are practically characters themselves, complete with personalities. One storm chases the crew like a petty ex. Another just shows up, levels a city, and peaces out like a diva who doesn’t need an encore. The special effects are dazzling, with debris that practically flies out of the screen and hailstones that look like they could take out a small car—or Glen Powell’s ego. These CGI tornadoes are a jaw-dropping spectacle, from a double-twister showdown to a climactic storm that practically feels alive. The sound design deserves its own standing ovation; you’ll swear you’re in the eye of the storm.

The awesome power of Mother Nature.

That the tornadoes were going to look cool was a given – visual effects have made great strides over the past three decades – but what about this film’s tornado chasers? Daisy Edgar-Jones anchors the film with a heartfelt performance, balancing vulnerability and grit. Her backstory as a meteorologist haunted by past failures provides a strong foundation, but her arc often takes a backseat to the relentless action. Glen Powell is equally charismatic, though his character feels like he stepped out of an action movie rather than a disaster film; his charm and humour bring moments of levity, but his character is confined to a familiar archetype of the roguish yet dependable partner.

“Han Solo ain’t got nothin’ on me.”

As for Twisters’ supporting cast, this ensemble features a diverse array of storm chasers, yet many of them are relegated to one-dimensional roles. The original Twister succeeded in making even minor characters memorable, but this sequel struggles to give them meaningful contributions to the story. This lack of character depth detracts from the film’s emotional impact, leaving us less invested in the stakes. They provide comic relief and occasional gravitas, with standout moments from a British reporter who looks like he wandered in from a sitcom, and some characters exist solely as tornado fodder, their fates telegraphed from their first lines of dialogue.

Note: The movie depicts a serene “eye” in the middle of the tornado where the characters can have a heartfelt conversation. Tornadoes don’t have calm centres like hurricanes; inside a tornado, it’s chaotic, with constant debris and violent winds.

While the film’s inaccuracies are glaring if you know a thing or two about storms, they don’t take away from the movie’s sheer fun factor. It’s less of a meteorological lesson and more of a tornado-themed thrill ride. Unfortunately, aside from the dodgy science, the screenplay gets bogged down in cliché-heavy dialogue and forced romantic subplots that feel unnecessary in the face of nature’s chaos. Moreover, while the action sequences are thrilling, they sometimes overshadow the story’s emotional core. Where the original Twister balanced scientific intrigue with personal stakes, Twisters often feels like it’s chasing spectacle for spectacle’s sake.

To be fair, it is a pretty amazing spectacle.

In the end, Twisters’ director Lee Isaac Chung wasn’t trying to reinvent the disaster movie genre, but he didn’t need to. It’s a popcorn flick through and through, packed with edge-of-your-seat thrills, stunning visuals, and just enough heart to keep you invested. While the emotional beats and character development feel underbaked, the sheer scale of the tornado action more than makes up for it. And honestly, that’s what we all came to see.