(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Two scientists try to stop a mutation that turns people into werewolves after being touched by a super-moon the year before.”
A quick search of Google.com indicates that 2024’s Werewolves had a pretty unspectacular theatrical release run. Opening in the U.S. and beyond in December of that year, box office records indicate it grossed just under $2M in the U.S. and Canada while adding another just over $2M from international markets. I’ve been unable to locate any statistics on its productions costs; but it’s easy to figure that they likely couldn’t have been that steep. As Horror-themed Thrillers go, it’s fairly light on exotic locations and fairly lean on marketing dollars since I can’t find all that much promotion for it across the Information Superhighway. You know what they say: “it’s a dog-eat-dog world out there.”
Because I tend to enjoy creature features more than most I wanted to give it a look. While I’m not all exactly giddy with delight to have done so, I also don’t feel my time was wasted. Storytellers who dabble in such material generally have an idea of what audiences expect, and that’s the case here. Though the product never rises above a workable effort I seriously doubt that any among us might find it achieving even cult respectability of any kind. Its creature effects – perhaps the signature draw to any monster movie – are about average: having been unable to locate any specifics on the production, I’m really only guessing that what director Steven C. Miller achieves was a combination of practical in-camera work and modest CGI.
The film begins with a few title cards necessary to establish the parameters of this world. As fate (and a talented screenwriter) would have it, every man, woman, and child are now at risk of becoming a lycanthrope entirely from exposure to our moon. No longer is that virus (apparently) transmitted by saliva; and audiences are provided no legitimate explanation for this scientific evolution. Yes, such minimalist world-building is insufferably lazy, but these cultural and social developments rarely get a great deal of exposure in second-tier films. Such narrative progress takes too much investment; and, thus, narrators wing it. Thankfully, it’s only an annual occurrence – think The Purge but with teeth, fur, and fangs – but I’d imagine civilizations still ruins a vast number of wardrobes.
Molecular biologist Wesley Marshall (played by Frank Grillo) has his hands full on the cusp of the impending SuperMoon Event: not only is he tasked by the federal government to test the latest science designed to inhibit man’s transformation into this new strain of bloodthirsty werewolf but also he’s taken over stewardship of his late brother’s family – Lucy (Ilfenesh Hadera) and daughter Emma (Kamdynn Gary). Granted, he’s sealed them up in their house with every form of home protection he can think of; but he can’t shake that nagging feeling that something isn’t right. Duty calls, and he heads out to perform his service to mankind.
From the film’s IMDB.com page citation:
“Two scientists try to stop a mutation that turns people into werewolves after being touched by a super-moon the year before.”
A quick search of Google.com indicates that 2024’s Werewolves had a pretty unspectacular theatrical release run. Opening in the U.S. and beyond in December of that year, box office records indicate it grossed just under $2M in the U.S. and Canada while adding another just over $2M from international markets. I’ve been unable to locate any statistics on its productions costs; but it’s easy to figure that they likely couldn’t have been that steep. As Horror-themed Thrillers go, it’s fairly light on exotic locations and fairly lean on marketing dollars since I can’t find all that much promotion for it across the Information Superhighway. You know what they say: “it’s a dog-eat-dog world out there.”
Because I tend to enjoy creature features more than most I wanted to give it a look. While I’m not all exactly giddy with delight to have done so, I also don’t feel my time was wasted. Storytellers who dabble in such material generally have an idea of what audiences expect, and that’s the case here. Though the product never rises above a workable effort I seriously doubt that any among us might find it achieving even cult respectability of any kind. Its creature effects – perhaps the signature draw to any monster movie – are about average: having been unable to locate any specifics on the production, I’m really only guessing that what director Steven C. Miller achieves was a combination of practical in-camera work and modest CGI.
The film begins with a few title cards necessary to establish the parameters of this world. As fate (and a talented screenwriter) would have it, every man, woman, and child are now at risk of becoming a lycanthrope entirely from exposure to our moon. No longer is that virus (apparently) transmitted by saliva; and audiences are provided no legitimate explanation for this scientific evolution. Yes, such minimalist world-building is insufferably lazy, but these cultural and social developments rarely get a great deal of exposure in second-tier films. Such narrative progress takes too much investment; and, thus, narrators wing it. Thankfully, it’s only an annual occurrence – think The Purge but with teeth, fur, and fangs – but I’d imagine civilizations still ruins a vast number of wardrobes.
Molecular biologist Wesley Marshall (played by Frank Grillo) has his hands full on the cusp of the impending SuperMoon Event: not only is he tasked by the federal government to test the latest science designed to inhibit man’s transformation into this new strain of bloodthirsty werewolf but also he’s taken over stewardship of his late brother’s family – Lucy (Ilfenesh Hadera) and daughter Emma (Kamdynn Gary). Granted, he’s sealed them up in their house with every form of home protection he can think of; but he can’t shake that nagging feeling that something isn’t right. Duty calls, and he heads out to perform his service to mankind.
As tends to happen in B-Movies of this sort, the science goes awry – Moonscreen (in place of sunscreen) was likely only going to be minimally effective, am I right? Before you know it, the positive effects have worn off; and these test subjects transform right before Marshall’s eyes. On his way out the door and into the current devastation, he grabs fellow brainiac Dr. Amy Chen (Katrina Law), and he heads for the hills, hoping he can reach his family before these critters show up for dinner.
I suspect many showing up to Werewolves know fully what they’re in store for: it’s the usual race-against-the-clock where beasts provide both the impetus for showing up and paying attention. Humans always have and likely always will play second fiddle in these circumstances, and there’s absolutely nothing wrong with that. The transformation sequences – while not groundbreaking in any respect – are serviceable, and the resulting mayhem once all turns to crap works just fine though likely won’t have viewers chatting this one up around the water cooler on Monday.
Sadly, screenwriter Matthew Kennedy’s story feels a bit incomplete presented entirely as is in the complete cut of the film.
The release strongly suggests that there’s more to the story involving a few of these characters – Miles Chen (James Kyson) and Amy’s personal relationship gets heavily truncated and seemingly disappears once he’s stricken by the SuperMoon, and Amy’s ‘vanishing sequence’ from the battle-raging streets plays like it was merely a set-up for a bigger payoff and yet we get nothing – and I can’t help but wonder what may’ve been lost at some point in the production process. There are also loose indications that some in this universe have entirely altered their living conditions – a group of folks seem to have taken up residence in underground tunnels – but it’s an idea that only serves a singular purpose and then vanishes, much like indigestion or the average rug burn. The fact that Marshall’s character arc turns out to be little more than a cinematic spat with his militiaman neighbor also cheapens what could’ve, would’ve, and/or should’ve been, but I suppose it works solely on the popcorn level for which this was all designed.
Werewolves (2024) was produced by Burke Management, Monty The Dog Productions, and Solution Entertainment Group. DVD distribution (for this particular release) has been coordinated by the fine folks at Allied Vaugh. As for the technical specifications? While I’m no trained video expert, I found the sights-and-sounds to be respectably solid from start-to-finish. Lastly, if you’re looking for special features? All they thought fit to dish were a handful of deleted scenes. Meh. Little to no bite.
Alas … only Mildly Recommended.
A great many pictures come-and-go without leaving an imprint on the domestic box office, so that fact alone isn’t necessarily a qualifier on a story’s success; and, yet, I’m finding it hard to promote anything of substance in 2024’s kinda/sorta confusing Werewolves. To its benefit, screenwriter Kennedy tried to do something different with the mythology and director Miller capably drags audiences through some visual excitement; but this one never quite rises over that ‘movie of the week’ aesthetic that anchors a good many lesser outings to pay cable airings. While not a complete failure, it still brings nothing memorable to the party; and that’s its biggest shortcoming.
In the interests of fairness, I’m pleased to disclose that the fine folks at Allied Vaughn provided me with a complimentary Blu-ray of Werewolves (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
I suspect many showing up to Werewolves know fully what they’re in store for: it’s the usual race-against-the-clock where beasts provide both the impetus for showing up and paying attention. Humans always have and likely always will play second fiddle in these circumstances, and there’s absolutely nothing wrong with that. The transformation sequences – while not groundbreaking in any respect – are serviceable, and the resulting mayhem once all turns to crap works just fine though likely won’t have viewers chatting this one up around the water cooler on Monday.
Sadly, screenwriter Matthew Kennedy’s story feels a bit incomplete presented entirely as is in the complete cut of the film.
The release strongly suggests that there’s more to the story involving a few of these characters – Miles Chen (James Kyson) and Amy’s personal relationship gets heavily truncated and seemingly disappears once he’s stricken by the SuperMoon, and Amy’s ‘vanishing sequence’ from the battle-raging streets plays like it was merely a set-up for a bigger payoff and yet we get nothing – and I can’t help but wonder what may’ve been lost at some point in the production process. There are also loose indications that some in this universe have entirely altered their living conditions – a group of folks seem to have taken up residence in underground tunnels – but it’s an idea that only serves a singular purpose and then vanishes, much like indigestion or the average rug burn. The fact that Marshall’s character arc turns out to be little more than a cinematic spat with his militiaman neighbor also cheapens what could’ve, would’ve, and/or should’ve been, but I suppose it works solely on the popcorn level for which this was all designed.
Werewolves (2024) was produced by Burke Management, Monty The Dog Productions, and Solution Entertainment Group. DVD distribution (for this particular release) has been coordinated by the fine folks at Allied Vaugh. As for the technical specifications? While I’m no trained video expert, I found the sights-and-sounds to be respectably solid from start-to-finish. Lastly, if you’re looking for special features? All they thought fit to dish were a handful of deleted scenes. Meh. Little to no bite.
Alas … only Mildly Recommended.
A great many pictures come-and-go without leaving an imprint on the domestic box office, so that fact alone isn’t necessarily a qualifier on a story’s success; and, yet, I’m finding it hard to promote anything of substance in 2024’s kinda/sorta confusing Werewolves. To its benefit, screenwriter Kennedy tried to do something different with the mythology and director Miller capably drags audiences through some visual excitement; but this one never quite rises over that ‘movie of the week’ aesthetic that anchors a good many lesser outings to pay cable airings. While not a complete failure, it still brings nothing memorable to the party; and that’s its biggest shortcoming.
In the interests of fairness, I’m pleased to disclose that the fine folks at Allied Vaughn provided me with a complimentary Blu-ray of Werewolves (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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