Category: Reviews

Looking over this year’s crop of presidential hopefuls, I can’t help but think our nation would be much better off with a werewolf in the Oval Office than any of the candidates currently on the campaign trail. Sure, the White House would have to go on lock-down every 28 days or so, but electing a lycanthrope would send a clear message to other nations and extremist organizations across the globe: Don’t mess with us. Our president is literally a lunatic.

Until the day that comes to pass, the next best thing is 2012’s President Wolfman, which came to my attention via Noel Murray’s “After Midnight” column at The Dissolve (R.I.P.). It’s the brainchild of writer/director Mike Davis, whose day job as a stock footage coordinator served him in good stead since President Wolfman is almost entirely cobbled together from public domain material, the lion’s share of which hails from the 1973 feature The Werewolf of Washington, which I covered in its own right some years back. As it’s been re-dubbed by Davis and his voice cast (à la Woody Allen’s What’s Up, Tiger Lily? or the serial spoof J-Men Forever), Dean Stockwell’s junior White House press secretary has now become embattled President John Wolfman, who’s up for reelection and faces some stiff challenges — including being a single father to his son Bobby (a subplot drawn from an entirely different film) and the threatened takeover of the country by the Chinese — even before he’s bitten by a supernatural coyote and cursed with lycanthropy.

Over the course of the 80-minute film, Davis casts his net wide, having a go at the Miss America Junior Miss pageant, hippies, stoners, and Smokey the Bear, and periodically indulging in “ironic” racism directed at Native Americans, African Americans, and Chinese Chinese. At least President Wolfman’s struggle to prevent the United States from falling into the hands of the latter (and being renamed “Chimerica”) gives Davis the ability to incorporate all of his source film’s werewolf attacks, recasting the victims as the duplicitous Speaker of the House, powerful lobbyist Maude Atkins, who sold Congress on the deal, and the aptly named Vice President Mangle, who intends to sign the bill that the President doggedly refuses to once Wolfman is out of the picture. None of them are a match for a Commander in Chief whose bite is worse than his bark, though.

This month marks a major milestone for werewolf movie fans since December 16th was the 90th anniversary of the release of the 1925 silent Wolf Blood, which is the earliest extant werewolf-related feature on record. This is, of course, not to say it’s been given the deluxe restoration treatment. To date, its only DVD release has been through the budget label Alpha Video, which included it as a bonus feature on its release of F.W. Murnau’s The Haunted Castle in 2008. Within a year, Kino came to The Haunted Castle’s rescue with a restored authorized edition, but Wolf Blood still languishes and, like a lot of films in the public domain, can be viewed in its entirety on YouTube.

Subtitled “A tale of the forest” (because evidently the filmmakers didn’t want to go for the “tail” pun), Wolf Blood is set deep in the Canadian wilderness where a bitter rivalry between competing logging companies has fatal consequences. Caught up in the conflict is the Ford Logging Company’s new field boss Dick Bannister (George Chesebro, co-director with Bruce Mitchell), who quickly gets fed up with his men getting shot at per the orders of Consolidated Lumber’s underhanded owner Jules Deveroux (Roy Watson), who hires half-breed bootlegger Jacques Lebeq (Milburn Morante) to do the job. Dick calls in the boss, society dame Edith Ford (Marguerite Clayton), and she brings along her fiancé Eugene Horton (Ray Hanford), a doctor whose surgical skills come in handy when Dick has a run-in with Deveroux and requires a blood transfusion.

It’s a while before it comes to that, though, and in fact on the day Edith arrives at the camp Dick is felled by a tree but somehow suffers no ill effects, which already makes him out to be some kind of a superman. Even a superman can be overpowered when outnumbered, though, and after one of Deveroux’s men brains him with a rock he’s left to die in the woods, where he’s menaced by some of the least threatening wolves ever put on the screen. (I suppose they’re distant cousins of the lone hyena masquerading as a werewolf in Murnau’s Nosferatu.) Luckily, Eugene happens upon him and is able to keep him alive with the blood of a she-wolf, but there are complications when Lebeq starts spreading the rumor that he’s now half wolf and the superstitious lumberjacks start to shun him.

Even Eugene follows suit, telling Edith, who has since become smitten with him, that “the blood through his brain will change his whole character — his mentality — his desires — his whole life!” This, coupled with Dick’s vague memories of the “weird tales of the Loup Garou of the Far North,” makes him suspect himself when Deveroux turns up dead one morning with his throat torn out. He then heeds the call of the “phantom pack,” following their photo-negatives to the edge of Wolfs Head Rock, but Edith pulls him back at the last minute. Seems there’s a non-supernatural explanation after all, which is mildly disappointing, but it’s still preferable to, say, She-Wolf of London, the 70th anniversary of which no one will be celebrating next year.

Strictly speaking, 2014’s When Animals Dream isn’t a werewolf film, but since it’s a coming of age story about a young woman who, like her mother, is genetically disposed to grow thick hair all over her body — and become short-tempered and aggressive to boot — it’s close enough to count for this month’s Full Moon Feature. Set in a provincial fishing village in Denmark, When Animals Dream opens with 16-year-old protagonist Marie (Sonia Suhl, making an assured screen debut) seeing the doctor about a small rash on her chest. This concerns him enough that he submits her to a full examination of her fingernails, gums, and back, along with a barrage of questions about any other symptoms she may be experiencing. What these may be isn’t clear at first, just as there’s some mystery about what condition Marie’s invalid mother (Sonja Richter) suffers from, but it does require her to be given shots by Marie’s rock-steady father (Lars Mikkelsen), who’s also seen shaving her back. Then Marie starts having disturbing dreams in which she’s transforming into some kind of bestial creature and, well, do the math.

Even if they had eschewed the supernatural angle, director Jonas Alexander Arnby and screenwriter Rasmus Birch would have been on to something since they paint a compelling portrait of a withdrawn young woman struggling to fit in. New to her job working on a fish disassembly line, Marie has the expected locker-room confrontations with the factory’s alpha-male bully and undergoes a humiliating initiation where she’s pushed headlong into a tank filled with fish heads. (Paging Carrie White.) On the other hand, she also catches the eyes of friendly fisherman Daniel (Jakob Oftebro), whose interest is reciprocated. Heck, he doesn’t even bat an eye when she tells him, “I’m transforming into a monster and I really need to get laid before.” That’s what I call a keeper.

If When Animals Dream has a fault, it’s that once all its cards are on the table, the back half of the film is far too predictable. Still, it’s worth sticking with it to see how Marie is emboldened by the changes she’s going through, not just physically, but mentally and emotionally. When she’s leaving home for good and her father’s parting words to her are “Don’t take any crap,” viewers can feel confident she won’t.

For the first time in recent memory, werewolf aficionados have two films featuring our favorite furry monsters to choose from in theaters this Halloween. True, they’re both more family-friendly than some might like, but PG werewolves are better than no werewolves.

First up, there’s Hotel Transylvania 2, the sequel to the hit animated film from 2012. I haven’t seen either, but Steve Buscemi does return to voice Wayne, the harried family wolf who has his paws full keeping his rambunctious pups in line. And since Hotel Transylvania 2 has continued to pack ’em in a month after its release, there’s every reason to believe we’ll be getting a Hotel Transylvania 3 in short order.

Less assured of a follow-up is Goosebumps, which brings to life all of the creepy crawlies cooked up by R.L. Stine in his book series of the same name. I had aged out of the target audience long before Stine’s books first came out in the early ’90s, so I’ve never read any of them, nor have I seen the television shows, specials, and videos they spawned. (Nope, not even The Werewolf of Fever Swamp.) That didn’t prevent me from enjoying the film, though, especially since said werewolf gets a fair bit of play. True, he’s a purely CGI creation (as are most of the monsters in the film), but he has a good design going for him and he’s party to some of the film’s most suspenseful sequences.

In addition to the werewolf, which gets about five minutes of featured screen time (not that I was keeping track or anything), Goosebumps also unleashes an abominable snowman (the first of Stine’s creations to escape from his manuscripts), a vindictive ventriloquist’s dummy named Slappy, an army of garden gnomes, the Invisible Boy, a giant praying mantis, a squad of space aliens with freeze rays, a gaggle of ghouls, some scarecrows, a mummy, a scary clown (is there any other kind?), and many others. That should be enough to satisfy just about any monster fan.

On the opposite end of the spectrum in that regard is the horror anthology Tales of Halloween, which received a limited release in conjunction with its bow on VOD. The main draw for me was the participation of Dog Soldiers director Neil Marshall, who contributes the best segment (“Bad Seed,” about a killer jack-o-lantern), but the IMDb keywords page also promised a werewolf that the film failed to deliver, so I have submitted a request to the site to have it removed. And I’m using this space to let potential viewers know there are no werewolves in Tales of Halloween. Maybe if there were, it would have actually gotten a wide release.

With the super blood moon upon us — for the last time until 2033 — it’s fortuitous that there’s a new werewolf movie out called Blood Moon. What’s unfortunate is that it’s not a very good one. Set in Colorado in the year 1887, but filmed in the South of England for reasons known only to its financiers, Blood Moon is about a Native American Skinwalker — a warrior who’s able to take the form of a bipedal wolf creature and is at his strongest during the blood moon according to the film’s resident half-breed font of Navajo legends and dream visions — who has chosen to bedevil the abandoned mining town of Pine Flats and all who pass through it.

Taking its cues from classic Hollywood westerns like John Ford’s Stagecoach as much as modern revisionist ones like Clint Eastwood’s Unforgiven, Blood Moon is populated by all the expected character types. There’s Calhoun (Shaun Dooley), the mysterious gunslinger about whose past there is much speculation, who stops a stagecoach on the road to Pine Flats and talks his way onto it. His fellow passengers are deputy marshal Jake Norman (George Blagden), his blushing bride Sarah (Amber Jean Rowan), saucy saloon owner Marie (Anna Skellern), baby-faced London Times reporter Henry Lester (George Webster), and requisite priest Father Dominic (Kerry Shale), who’s the first to get plugged when the travelers are ambushed by outlaw half-brothers Hank and Jeb Norton (Corey Johnson and Raffaello Degruttola), who are on the run after a bank robbery gone bad. In addition to the repeated references to their deplorable personal hygiene, both are repugnant in their own unique ways. While Jeb has an eye for the ladies and makes plain that he plans to rape Sarah before they move on, Hank can’t go five minutes without spitting and sounds so much like Yosemite Sam that it: a) must have been a deliberate choice, and b) is incredibly distracting.

Speaking of distractions, director Jeremy Wooding and screenwriter Alan Wightman include numerous cutaways to Jake’s cousin, Marshal Wade (Jack Fox), who hires the aforementioned half-breed Black Deer (Eleanor Matsuura) to track down the Nortons, hand-waving her concerns about going out during the blood moon. Once it rises, that should mean the end of the tedium (“Jesus Christ, Jeb. Pull the trigger,” Hank says, speaking for the audience. “Shoot somebody.”), but even when one of the Nortons is put out of his misery and one of the passengers is attacked off-screen by the Skinwalker, the others seem unnaturally unperturbed when it drags the victim’s legs away, leaving the head and torso on the front porch of the inn where they’re holed up. Meanwhile, Wooding reveals the creature incrementally, progressing from an over-the-hairy-shoulder shot to the hairy arm that breaks through a window and grasps at the unwary soul who had their back to it. Then there are the closeups of its hairy back as it’s repeatedly shot so Wooding can show that the bullet wounds heal instantly thanks to the magic of CGI. What’s surprising about this is he was actually given a decent-looking practical werewolf costume to work with, so waiting until the last fifteen minutes to show it off just seems like a waste.

Also puzzling are the film’s attempts to prop up Calhoun like he’s some sort of icon who should be mentioned in the same breath as Eastwood’s Man with No Name. Based on his refusal to ever say where he’s from, despite being asked repeatedly, perhaps he should be known as the Man with No Birth Certificate. Also, his reputation as a crack shot may be somewhat overstated since the Skinwalker has to wait patiently up on the roof for Calhoun to fire a shotgun shell filled with silver jewelry into its heart. Then again, it was probably still dazed after being run over by that stagecoach. Blood Moon may not be a classic, but that’s still a moment for the record books.