Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

Brainsbell The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

Loui Blair It's a feast for the eyes. But what really makes this dramedy work is the acting.

Jerrie It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

thelastblogontheleft Director Joe Dante wasn't known for much in the horror world besides his 1978 film Piranha when he dove into The Howling (based on the book of the same name by Gary Brandner, though it apparently bears only a slight resemblance to the original story) a few years later. It was one of many werewolf movies to crop up in the 80s (others include An American Werewolf in London, Teen Wolf, and The Company of Wolves) and certainly one of the most iconic. Its financial success was instrumental in him being chosen by Warner Bros. to direct Gremlins just a few years later.The story centers around Karen White (Dee Wallace), a news anchor in Los Angeles who is being stalked by serial murderer Eddie Quist (Robert Picardo in his very first movie role). She works alongside the police to lure him to a porno theater where he is fatally shot after revealing his true form to her. She suffers amnesia after the encounter and her psychiatrist (Patrick Macnee) encourages her to take a leave of absence to his secluded resort in the woods — called The Colony — with her husband (Christopher Stone) so she can rest and regain her memory. While there, she realizes this group of psychiatric patients all have one thing in common, and it's not their doctor…** SPOILERS! **A huge part of why I loved this movie so much was how self-aware it was — almost satirical at times. It is filled to the absolute brim with references, homages, and cameos. Roger Corman appears as a man waiting outside of a phone booth, while Forrest J. Ackerman is seen at the occult bookstore holding a copy of his own Famous Monsters of Filmland. There are endless subtle hints by fellow patients at The Colony — "I sleep like the dead" or "I figure another five years of real hard work and maybe I'll be a human being"– or workers at the morgue — "he didn't get up and walk out on his own" — or even Karen's own husband — mentioning several times about how he tries to stay away from meat, but voraciously inhaling exactly that when their friend Terry (Belinda Balaski) comes to visit, mentioning "I get hungry enough, I'll eat anything!". There are several cans of Wolf brand chili spotted throughout, a copy of Allen Ginsberg's Howl and Other Poems casually laying on a desk, Bill reading "You Can't Go Home Again" after he's bitten, a TV playing the Looney Toons episode with the Big Bad Wolf. The list could go on, but I loved all of the little references here and there.The special effects are, understandably, one of the main things this movie is known for. Rick Baker (Squirm, Men in Black, Videodrome) was originally in charge of the monster makeup, but he actually passed to work on An American Werewolf in London (and created easily the best werewolf transformation of all time) and left his assistant, Rob Bottin, to work in his absence. Bottin already had The Fog under his belt, and rocked this job as well.He clearly learned well from Baker but had his own distinct style — Eddie Quist's transformation scene is one of the most terrifying things I've seen in a long time. The skin on his face bubbling like it was about to explode at any second, his hands stretching to impossibly thin fingers, his eyes rolling around in his head… shudder. I couldn't look away. Probably the only downside to that scene, if I had to come up with one, was how calm and unaffected Karen seemed — she sticks around, looking on quite casually, for the entirety of his gruesome change before she finally retaliates. I also enjoyed Bill's transformation scene in the woods (though that was very brief), as well as the severed arm of a werewolf attacker transforming back into its human form.I think, most of all, I loved the humanity that this movie brought to the werewolves. The duality of their persona can be disappointingly understated at times, but this film brought to light how conflicted some of them may be. Clearly some of the werewolves have a desire to get back to the ways of the past — "you can't tame what's meant to be wild, Doc — it ain't natural" — but some, maybe most of all Dr. Waggner himself, want to find a way to keep their urges contained. Him blurting out "thank God" as he's shot with a silver bullet was subtle but so meaningful.The greatest example of this was the ending itself. Karen, knowing she was bit and doomed to a life that she was so disgusted by, still wants to do the only thing in her power to try to warn others so they don't fall prey to the same beasts. Her willingly transforming ON LIVE TELEVISION as a single tear rolls down her cheek (and then being shot dead as families at home and drunks in bars watched, wide-eyed) was just the coolest damn thing… and all of the viewers barely batting an eye, chalking it up to advanced special effects, is as relevant today as ever.Absolutely one of the greats, both for werewolf movies and horror in general.

dougdoepke No need to recap the plot or echo consensus points on this fright fest.Good to see so many movie vets picking up a payday. Don't overlook Ken Tobey from the space alien classic The Thing (1951). Here he's got a cameo as the old cop. Of course, special effects could overwhelm the rest of the story, fearsome as they are. That's a major pitfall of many recent films, but this one's got enough surprises to manage the startling effects. I like the way events start out, the behind-the-scenes at a TV station. Actress Wallace gives newswoman Karen a wholesome every- day presence, setting her up effectively as the besieged victim. The script manages a few surprises, unusual for a werewolf movie. But then master moviemaker John Sayles was in on the screenplay. All in all, it's a great shudder-fest, a real white knuckle updating of the series. (Note brief tribute clip at movie's end of Lon Chaney Jr. and Maria Ouspenskaya from original Wolf Man {1941}.) However, I don't think I'll be inviting the impossibly sexy Marsha over any time soon, especially for dinner or even to pet my dog.

tstudstrup Let me start by saying that for a movie that only last 90 minutes, nothing happens for the first 40 minutes. Some news woman helps catch and kill a serial killer. And she has nightmares about it and is send to a retreat for therapy. But the retreat is really a place were werewolves can be free. And she is send there unknowingly to be bitten and turned herself. It's that retarded.The effects are laughably bad, especially considering An American Werewolf In London came out the same year and The Thing came out the year before. Both movies with effects that still look good today, nearly 40 years later. And considering Joe Dante, who made Gremlins, just 3 years later, also made this, it's down right embarrassing.There are two very long scenes where two people are turned into werewolfs. And when they're done turning they look like people in bad Halloween werewolf costumes. It seems like those scenes are only there to show off really bad special effects makeup.In the second turning scene it takes what feels like 5 minutes for the guy to to turn and the heroine of the movie just stand there and looks at him instead of getting away while she has the chance.The acting is pretty bad and the only interesting scene is when two people have sex and then turn into werewolfes, because the woman is hot and shows her tits.SPOILER OF THE ENDING AHEAD.Eventually after being saved by a colleague, who kills all the werewolves, the news woman is bitten herself. She then transforms, on live television, to warn people about werewolfs. She looks like Catwoman with fur in her face. And then she is shot and killed by her colleague. Well let me warn YOU, do not watch this. This is 90 minutes, that feels like three hours that you won't get back.Why this movie made so much money and spawned so many sequels, is beyond me.

Spikeopath In the name of good television, newswoman Karen White (Dee Wallace) forms a bond with serial killer Eddie Quist (Robert Picardo). But when the meeting of the two arrives, it nearly proves fatal and damages Karen psychologically. Her psychologist recommends that she spend some time with her husband out at a remote convalescence resort, but once there it appears all is not as it seems.A truly great Werewolf movie, one of the best in fact, The Howling - in some eyes - has lost some of its bite over the years due to countless sequels and imitators, but its importance never dims. It often gets forgotten that The Howling changed the werewolf DNA for the better, it invented its own hairy beast as it were, refusing to copy past treasures from the olde classic era. But director Joe Dante shows the utmost respect to those who had previously eaten at the Lycan table, naming many of the characters in his film after directors of Werewolf movies. Nice.Another thing forgotten, due in no part to the release of An American Werewolf in London later in the year, is that Dante's movie often has tongue in bloody cheek. It is happy to be a parody of the sub-genre of horror it loves, while some of the comedy visuals are deliciously and knowingly dry. But this is a horror film after all, and it so delivers in spades the frights and nervous tremors, even sexing things up as well. These Werewolves are completely bestial, and in human form enjoy having their secret other halves. This is just a colony at the moment but domination of all humans is most definitely appealing and on the agenda.Horror fans will sometimes stumble across a debate about effects wizards Rob Bottin and Rick Baker, who is best? It really doesn't matter, both are geniuses of their craft. Bottin is in the chair here, while Baker served as a consultant before doing his thing on An American Werewolf in London. The transformation sequences are superb and still hold up today as brilliant craft work, no CGI cheap tactics here. No sir. The Howling is scary, sexy and funny, and knowing Dante - maybe even political. A joyous Werewolf film whose impact on horror should always be respected. 10/10