‘Werewolves’ Review🔴: Frank Grillo in an Extremely Basic Lean-and-Mean Werewolf-as-Zombie Movie📽 PBP
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And no genre revels in that more than the werewolf film. “The Wolfman,” in 1941, stopped dead in its tracks during each transformation scene, as if to say, “Forget the dumb story! Behold this!” This being the face of Lon Chaney Jr. contorting itself in agony as more and more layers of hair appeared upon it, thanks to the magic of dissolves. “The Howling,” in 1981, announced a new age of visual effects — those stretching jaws and elongated limbs marked the first big splash of Rob Bottin, the next-level effects maestro who went on to design the creatures for John Carpenter’s “The Thing.” And in “An American Werewolf in London,” when David Naughton stared at his mutating hand, practical effects, at that moment, wanted to be digital.
But watching “Werewolves,” you look at the title creatures and think, “Are visual effects now devolving?” The monsters are tall and impressively athletic-looking, with devil ears and animatronic snouts that snap like miniature crocodile jaws. These beasts move rapidly and tear a great deal of flesh. But as designed by Alex Gillis and Tom Woodruff Jr., they also look like they’re made of papier-mâché with pasted-on costume hair. From some angles, they look how I’d imagine the wolf would look in a version of “Little Red Riding Hood” made by the “Winnie the Pooh: Blood and Honey”