Craig J. Clark — Sep. 15th 2016
In all the years I’ve been watching werewolf movies, I don’t think I’ve ever come across a sorrier example of the genre than the 2006 schlocker Curse of the Wolf, which went direct to video ten years ago this month. In fact, it may very well be the worst werewolf film I’ve ever seen, eclipsing even the amateur-hour likes of Night Shadow and Werewolf: The Devil’s Hound, which I didn’t think was possible. Like the latter, Curse of the Wolf was shot on cruddy-looking video and used cheap-ass werewolf makeup, and like the former, it was built around the skills of a martial artist. In this case, though, there are multiple martial artists in the cast, and one of them was also the writer, director, and fight choreographer, which explains the preponderance of hand-to-claw combat scenes.
When it isn’t focused on the fisticuffs, the action revolves around Dakota (Renee Porada), the most reluctant member of a sad little five-person wolf pack who breaks away when she figures out how to medically suppress her transformation. This doesn’t sit well with her would-be mate James (Alex Bolla, who wears shiny shirts so he can be readily identified even in wolf form), but pack leader Michael (Todd Humes, who overacts something fierce) decides to let her go for the time being. And offered up as a study in contrasts are the other two members of the pack: sexpot Harley (Katie Russell, who owns the film’s first gratuitous nude scene) and repulsive, blue-haired fat slob Franklin (Brian “Blue Meanie” Heffron, who spends an entire scene clad only in a pair of pee-stained and skidmarked briefs, which makes the fart sounds laid over top of it superfluous).
Jumping forward six months, the story finds Dakota working at a veterinary clinic, which gives her access to the drugs she needs, and palling around with co-worker Sam (Kylie Deneen), whom she rescues from a gang of would-be rapists who are subsequently slaughtered by Franklin while he’s out following Dakota’s scent. Per the homicide detective interviewed on the news about it the next day, “One victim suffered gash wounds over 50% of his body. Looks like he was mauled by a bear, for God sakes. There were chunks of these potato heads all over the place, and drugs everywhere. What could have done that in this area? No idea, but one thing’s for sure: We’ll get the bastards.” This turns out to be a load of hot air, though, since we never see this cop again, or any other police officer for that matter.
Instead, we’re plunged into a lopsided conflict between Michael’s pack and magnanimous club owner Logan (top-billed Lanny Poffo), who offers Dakota his protection. This extends to the services of his long-haired right-hand man Stick (writer/director Len Kabasinski, credited as Leon South) and clothing-averse weapons experts Ivy (Darian Caine) and Star (Pamela Sutch), who go with Dakota to stake out the house where the pack is holding Dan (Dennis Carver), whose relationship to her is rather nebulous. Even so, it’s more explicable than the scene where Ivy takes a bath while listening to a song called “Teetah the Cat Lady” which I swear I’m not making up. I’m also not lying when I say this film has one of the most deliriously incoherent final melees ever committed to magnetic tape, which is topped only by the credits for Kabasinski’s “spiritual advisor” and “snack guru,” who shockingly enough aren’t one and the same person.
Editor’s note: the cover art for Curse of the Wolf is so discomfitingly gross / bad / that I’m too embarrassed to display it directly on the site. You can see it here if you think you want to, but you don’t want to.