Werewolves (2024) | Film Review

There was always an aesthetic to John Carpenter movies, the ones which harken back to his truest B-movie sensibilities, where the film would open with a world that already exists and is full-steam ahead. The plot is in motion, characters are in peril, and it is now time to chew bubblegum and kick ass. They Live, Escape from New York, even Vampires. It was a specific component to his films that I personally have always loved: let’s cut through an hour of exposition and get to what the people came here for, one-liners and bloodlust. Apparently, screenwriter Matthew Kennedy and director Steven C. Miller completely understand this, because Werewolves hits the ground clawing.

It has been a year since tragedy hit the planet. A supermoon event occurred that unlocked a latent gene in mankind where if you happened to find yourself in the path of this crescent light, you would segue into, you guessed it, a werewolf. The world lost almost a billion people that day, and now it is the night of the sequel.

As Werewolves begins, Dr. Aranda (Lou Diamond Phillips) is addressing the nation while Wesley Marshall (Frank Grillo) boards up his deceased brother’s home for his sister-in-law and niece, Lucy and Emma (Ilfenesh Hadera and Kamdynn Gary). Wesley is ensuring they are completely isolated before reporting to work with Dr. Aranda on a potential cure for supermoonitis. You see, not only is Wesley former military, trained in special ops, but he is also the most physically defined biologist possibly on planet Earth. With their work on this possible cure, winkingly known as Moonscreen, Wesley needs to protect his family – both from lycanthropes, as well as their excessively militarized and unstable neighbor Cody – and civilization from the second worst night on record. He’s a busy guy.

Of course, everything goes sideways, and werewolves are back on the lam. Wesley’s mission morphs into joining up with Amy (Katrina Law), his militarily trained scientist partner, and getting back to Lucy and Emma before all hell breaks through their compound. What follows is a playful mix on The Purge meets Silver Bullet, where everyone who dares venture outside risks turning into a bloodthirsty beast or becoming werewolf kabobs.

As far as the cast goes, everyone handles their end (though the always welcome Katrina Law was a tad underserved), but this film is commanded by Frank Grillo’s Wesley Marshall. I have long believed Grillo is pitch-perfect casting for an Escape from New York remake, and Werewolves continues that instinct. The actor has a penchant for sly toughness and sardonic wit sorely lacking in today’s far too solemn action heroes, which he puts to solid use as he traverses the city from one werewolf mauling to another. For a film centered around gigantic monsters with vicious claws, it is saying something that as an audience member, you still believe Frank Grillo can beat their hairy asses. His dialogue deserved a bit of a punch-up, but Grillo does everything in his power to demonstrate yet again his modern machismo is unmatched. Even under the supermoon.

Yes, Werewolves is an indie film, and yes, the budget limitations are obvious for anyone who studies film. BUT the most enjoyable horror films, the ones which we que up every Halloween to celebrate a good time with friends, know how to work around a miniscule budget. Director Steven C. Miller sticks primarily to practical effects and careful edits to dance around any budgetary restrictions, and it mostly works. Are there a few scenes where the quick edits and close-ups are a bit too confusing? Sure. But often, Miller utilizes tight spaces and carefully chosen shots to allow audience imagination to fill in the more costly gaps and delivering several edge-of-your-seat moments.

Most importantly, Werewolves is a howlingly fun time. Though I might be more than a little ashamed with my own cheesy wordplay, it fits. Despite any reasonable criticisms, for the entire duration of the film I was smiling the same way I did back when John Carpenter was in his heyday. With a clever concept, careful direction, and a reliance on practical effects, Werewolves is Frank Plissken Meets the Wolfman, and escapist entertainment at its finest.