Short Attention Span Review: Curse of the Werewolf (1961)

Short Attention Span Review: Curse of the Werewolf (1961)

As one who considers himself a big fan of both the Hammer catalog and the incomparable Oliver Reed, I waited entirely too long to watch Curse of the Werewolf.  I found this to be a fantastic picture, and I am here to heartily recommend it to my fellow fright fans.  The typical Hammer staples are on full display, to include wonderful sets, a rich color palette, a brisk pace, and sound performances captured by visionary technicians.  It also benefits greatly from the studio's ability to explore familiar haunts with creativity as well as craftsmanship, making old things seem new again.  This lycanthropy yarn, for instance, actually fashions an intriguing origin for the titular curse, and this exploration of the onset of such an abomination occupies the first third of the picture.  Long before a man turns into a beast at the behest of the moon, Curse of the Werewolf has cast a mysterious spell ripe with sinister flourishes and a wealth of drama.  The movie is halfway to the finish line before Reed takes center stage, and he rewards the filmmaker's efforts to set the table in such splendid detail with his trademark power and charisma.  While it is an invigorating departure from typical films in this vein, it does adhere to the classic formula wherein the poor soul who prowls the night under the influence of an unholy pact is both a monster and a victim.  If I were to complain about anything, I would note that the ending is rather abrupt, particular given all the attention devoted to building such a strong foundation.  The climax is gripping, to be sure, but it doesn't carry nearly as much weight as the first act.  Still, the picture is quite entertaining, standing as another high quality Hammer production brought to fruition by director Terence Fisher, who helmed so many of the beloved studio's most cherished motion pictures.  One can only wonder why the studio didn't sequelize this venture as they did so many of their properties.

Final Grade: B+

Oliver Reed offers up a robust performance in this unique take on familiar folklore, taking celebrated mythology in a fresh direction.  

Top 20 Horror Movies - #7) An American Werewolf in London (1981)

One of the things that I'm doing this month as I celebrate Halloween here in the Land of Way is taking the time to rank my Top 20 Horror Movies and my Top 20 Horror Novels.

Note:
I want to be clear that I'm basing these choices on my own humble opinion.  I'm not trying to rank these movies in accordance with their place in pop culture, but I'm offering up my take on the best horror films that I have ever watched and enjoyed.  There are some familiar candidates that I consider to be great pictures that didn't make the cut because there wasn't room, and there are some films that are widely regarded as great pictures that didn't make the cut because I feel that they are overrated.  There are also a few instances where it was difficult to determine whether or not a movie belonged to the horror genre (I said "no" to Aliens but "yes" to Jaws), and it may also be worth noting that this is largely a modern list (as long as you're okay with my classification of modern as anything after 1960) that only features one lonely creature from the so-called "Classic Monsters" films produced by Universal Studios.

Thus far, the list includes:

#20) The Fly (1986) 
#19) The Howling (1981)
#18) Night of the Living Dead (1968)
#17) Alien (1979) 
#16) Invasion of the Body Snatchers (1978)
#15) Suspiria (1977) 
#14) Phantasm (1979)
#13) Evil Dead 2 (1985)
#12) Creature from the Black Lagoon (1954) 
#11) The Descent (2005)
#10) Fright Night (1985)
#9) Halloween (1978)
#8) Return of the Living Dead (1985) 

And now for that other werewolf tale from 1981, the best film that particular sub-genre has given us.

  
Top 20 Horror Movies - #7) An American Werewolf in London (1981)

The finest werewolf movie ever filmed is quite the absurdity.  Director John Landis takes several familiar staples from this particular sub-genre and employs them to tremendous effect, yet he also runs wild with the concept.  Thus, there are big laughs, horrifying nightmare sequences, and dead friends who still drop by from time to time to hang out and encourage our main character to kill himself.  The transformation sequence is the stuff of legend, and the soundtrack that Landis put together (every song refers to the moon) is positively delightful.  The cast, led by David Naughton and Griffin Dunne as a pair of American backpackers, is splendid, and the script is lively and inventive.  Like the other movies to make my list that include a bit of humor, the film never becomes a parody, and the chuckles are offset by some chilling material that greatly benefits from stellar effects work and an obvious affection for gore.  The movie does a great job of developing a sinister mood that is frequently interrupted by gruesome hijinks and those devilish nightmares.  The end result is a special picture that is truly unique.  While offering up a sound and gripping yarn about the tragic curse of the werewolf, An American Werewolf in London takes lots and lots of left turns along the way, keeping the audience on their toes.  It's a joy to behold and calling it the finest werewolf movie ever filmed seems like a bit of an understatement.  No other film of this ilk has ever come close to challenging An American Werewolf in London for that title, and it's hard to believe that such a film will ever be produced.  This wild and hairy ride is a delirious smorgasbord of delights that should thrill any red-blooded fan of the horror genre. 

An American Werewolf in London is definitely not a movie that adheres to any sort of formula.

All these years after this one-of-a-kind frightfest hit the scne, it still boasts the best effects ever seen in a movie about werewolves.

Top 20 Horror Movies - #19) The Howling (1981)

As I celebrate the month of October with all my fellow horror fanatics, I'm ranking my Top 20 Horror Movies for you.  Thus far, the list includes:

#20) The Fly (1986)

And now I'm pleased to unveil my latest selection, another spectacular horror movie from the 80s!

Top 20 Horror Movies - #19) The Howling (1981)

One of two werewolf movies to make the list, The Howling is a twisted frightfest that I have a lot of affection for.  It has all the necessary ingredients for a quality horror flick, to include a worthy cast, an excellent setting, some creepy visuals, and an ominous mood.  The script by John Sayles varies greatly from the novel by Gary Brandner, but brings an engaging and fearsome story to the screen to superb effect.  Director Joe Dante does a tremendous job, and while I'm a big fan of Joe's other genre efforts (most notably Gremlins and Piranha) I believe that this is his best feature film.  It's tightly paced, brimming with atmosphere, and loaded with shocking sequences.  I'm awarding some serious bonus points for the unnerving opening and the equally disturbing conclusion.  There's also a nifty scene midway through the picture that surely ranks as one of the most frightening horror scenes out there that takes place in broad daylight.  The cast is stellar, with Dee Wallace slaying it in the lead role with quality support from players like Patrick MacNee, Kevin McCarthy, Slim Pickens, and the one and only John Carradine.  Pino Donaggio gave the film an eerie score that is a splendid fit for all the spooky shenanigans unfolding on the screen.  The Howling is equal parts engrossing, entertaining, and terrifying.  It is somewhat amazing to me that both this picture and that other werewolf movie released in 1981 (a superior effort that is ranked much higher on my list) remain the finest attempts to bring lycanthropy to the cinema.

Chief among the strengths of The Howling are
an ominous mood and some nightmarish visuals.

Short Attention Span Review: An American Werewolf in London (1981)

I'm keeping with my "horror movies from the 80s" theme for this latest Short Attention Span Review, and it concerns the finest werewolf movie of them all.  Yes, we're talking about An American Werewolf in London.  Yes, we're talking about a genuine classic, a horror movie for the ages.  Engaging, frightening, humorous, dramatic, and utterly unique, I don't think I can heap enough praise on this John Landis masterpiece in my review.  I strongly believe that only The Howling (also released in 1981) could challenge this one for werewolf movie supremacy, and as much as I like that horror gem from Joe Dante, I think An American Werewolf in London easily takes the crown.  The performances are stellar, with David Naughton somehow offering up a gripping star turn that is rather puzzling when you consider that he never managed to do anything half as good afterward.  Griffin Dunne nearly steals the show as Naughton's undead best pal and Jenny Agutter is equally impressive as the female lead.  There are wealth of supporting roles that all add to the overall success of the picture, but perhaps the biggest star of the show is the epic special effects work courtesy of Rick Baker.  Seriously, the effects are so gnarly that this movie captured the first ever Academy Award for Best Make-Up and it boasts a transformation sequence that has yet to be topped thirty-four years later.  In addition to the legendary effects work, we have a tragic love story, a wonderful soundtrack, a main character who is haunted by his undead victims and a series of gruesome (and absurd) nightmares, a wealth of subversive humor, and lots and lots of bloody carnage.  The opening reel is sheer perfection and the movie never misses a beat, rocketing toward an orgy of violence and dismay that gives way to a tender closing.  An American Werewolf in London isn't just the best werewolf movie I've ever seen, it's also one of the best damn horror films ever made. 

Final Grade: A+

Everyone needs a best friend--unless they're dead and they
keep showing up and demanding that you kill yourself.

Short Attention Span Review: Silver Bullet (1985)

By now, you guys should recognize that I love the horror genre.  I do consider myself a bit of an authority when it comes to things that go bump in the night, and I'm certain that many will agree with me when I say that there haven't been a lot of good werewolf movies or stellar horror movies based on literary icon Stephen King's work.  Now, there have been a couple of classic werewolf movies (here's looking at you, An American Werewolf in London and The Howling), but there have been a lot of terrible were-movies.  And while some of King's books or stories have resulted in top-notch films, most seem to be inspired by his more dramatic offerings and not the scare-fare that made him famous.  Now, Silver Bullet is no classic, and it isn't one of the best adaptations of King's prose. but it is a fun movie and it surely counts as one of King's solid adaptations.  The story is ripe with the kind of nostalgia that King mastered long, long ago, and it has a worthy cast highlighted by Gary Busey in what I consider to be his best role.  The effects are frequently maligned, but I think they're serviceable at the very least, and despite its age Silver Bullet still provides viewers with a few quality jolts.  The score is one of the highlights, and as is so often the case with King's work, the setting itself (a small town named Tarker's Mills) is also extremely memorable.  It lends itself well to the horror genre; often, the further removed we feel from a picture like this, the harder it is to dig in and enjoy the thrill ride.  That isn't a problem this time out, as most of us have probably lived in or visited a quaint little place like Tarker's Mills at some point in our lives.  All this aside, perhaps the greatest strength of this cool fright flick is the fact that the real hero is a paralytic boy.  This is the type of unique development that takes standard genre fare and elevates it, creating suspense and tension that can't be generated with a typical main character.  Corey Haim was really good as Marty Coslaw, the handicapped youth in question, and his relationship with his sister (Megan Follows as Jane Coslaw) and his crazy uncle (the Busey) ground the picture.  The underrated Everett McGill shines as the cursed Reverend Lowe, bringing his trademark menace to a rich part.  Yes, all the usual King trappings are there: the intriguing characters, the cozy setting, and a nifty plot woven around a terrifying force of evil that must be stopped.  As is often the case, the story that ensues works like a charm.  In closing, Silver Bullet may not hit the bullseye, but it's a far cry from a misfire.  In other words, "Hey Man, Nice Shot." 

Final Grade: B

Let's face it, everyone needs an Uncle Red.

Playlist/Soundtrack for my Current Project

 I know, I know, it's en vogue for artists to tell people all about the music they're listening to while they work these days.  Forgive me for being trendy, but I had an urge to share.  I'm currently nearing the end of my fifth novel, currently titled 101 Nights of the Rougarou.  Ever since I wrote Trailer Park Trash & Vampires, people have been asking me if I would ever pen a story about werewolves.  In a way, this current project is just that, though much I like did with vampires, I'm doing things a bit differently.  The rougarou itself is a bit different from the werewolf, though there are similarities.  There are also several variations sprinkled throughout the folklore pertaining to this particular beast, so that gives me a lot of room to maneuver.  I like that.

Anyway, like many, I like to listen to music while I work.  I've always thought it was a good idea to listen to a fairly consistent mix while I work on a project to maintain a certain mood, so I actually create soundtracks for each of my projects.  I have always been a very visual writer, and I think my work would lend itself well to film, so I proceed accordingly.  Each of these playlists starts with a song I imagine playing over the opening titles and ends with a song I would like to hear played over the credits.  The rest of the music suits the mood and flow of the piece.  Often, there will be songs that are tied to specific scenes.  Finally, since I favor big third acts, you may notice that things build to a crescendo toward the end of the playlist.

So, for those who are interested, here is my soundtrack  for 101 Nights of the Rougarou:

"Sniper At The Gates Of Heaven" by The Black Angels

"I Can Almost See Them" by Tomahawk

"I Am A Man Of Stone" by The Toadies

"Human" by Elastica

"Mama Told Me Not to Come" by Three Dog Night

"Connected" by Stereo MCs

"Caress Me Down"  by Sublime

"Blood On Our Hands" by Death From Above 1979

"The Hives Are Law, You Are Crime" by The Hives

"Adrenalize" by In This Moment

"Silver Queen" by Philm

"Lobster" by Bender

"Smoke a Little Smoke" by Eric Church

"Aisha" by Death In Vegas

"Nervous Shakedown" by AC/DC

"Psychotic Break" by Jerry Cantrell

"The Talking Horse" by The Melvins

"Boom" by Soulfly

"Hush" by Tool

"Adeadenemyalwayssmellsgood" by Future of the Left

"Exhale" by Kylesa

"Stillborn" by Black Label Society

"Bury Me" by Helmet

"Evil World" by Powerman 5000