THE HOWLING & AN AMERICAN WEREWOLF IN LONDON - The Lycanthrope Classics That Changed It All

THE HOWLING (1981) d. Joe Dante (USA) 

AN AMERICAN WEREWOLF IN LONDON (1981) d. John Landis (UK/USA)

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In the spring and summer of 1981, werewolf cinema underwent a radical transformation—not through one film, but two. Released just months apart, The Howling and An American Werewolf in London didn’t just revive a fading subgenre—they redefined what cinematic horror could look and feel like. Each film approached lycanthropy from a different tonal angle, yet together they set a new benchmark for practical effects, storytelling, and the balance between terror and dark humor.

THREE RING KING SPRING FLING: CUJO, CHRISTINE, and THE DEAD ZONE at 40!!!

CUJO (1983) d. Lewis Teague (USA)
THE DEAD ZONE (1983) d. David Cronenberg (USA)
CHRISTINE (1983) d. John Carpenter (USA)

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Four decades ago, in the latter half of 1983, three films based on the works of a rising horror star hit theaters. Having already attracted such established veterans Stanley Kubrick and George A. Romero, as well as rising stars like Brian De Palma and Tobe Hooper, to helm the big-screen adaptations of his novels, STEPHEN KING was quickly becoming a pop culture icon, such that having his name attached to a project (almost) insured box office success.

3 FROM HELL (2019) Movie Review

Scare-A-Thon Totals to Date:

Total Movies Watched: 14
Total First Time Views: 5
Amount raised for AMAZON WATCH: $1,069.04

3 from Hell (2019) d. Rob Zombie (USA) (111 min) (1st viewing)

It’s hard to believe it’s already been 14 years since Rob Zombie established himself as a genre icon with only his second feature film (especially since it was ostensibly a sequel to his debut, House of 1000 Corpses). Generating rave reviews from some of the nation’s top critics and eliciting genuine conversation about the complexity of nihilism in the age of Hostel and Saw, The Devil’s Rejects exploded onto the scene and established the rock star-turned-filmmaker into a genuine hero for the black t-shirt-wearing masses.

THE LORDS OF SALEM (2012) movie review

Lords of Salem, The (2012) (1st viewing) d. Zombie, Rob (USA)

Heidi Hawthorne (Sheri Moon Zombie), one third of a local late night heavy rock radio DJ triptych, receives an unsolicited wooden box containing a mysterious vinyl record. Believing it to be some independent artists’ novel attempt at promotion, Heidi and her cohorts (played by Ken Foree and Jeff Daniel Phillips) give “The Lords” disc an on-air spin, unwittingly releasing dark forces that slowly, inexorably descend upon our fair protagonist. Roused by the 33 1/3 chant, the spirits of a coven of executed Salem witches – aided by a trio of weird sisters (Patricia Quinn, Dee Wallace, Judy Geeson) – vie for Heidi’s soul, while an aging historian (Bruce Davison) attempts to halt the onslaught.

EXIT HUMANITY (2011) review

Exit Humanity (2011) (1st viewing) d. Geddes, John (Canada)

There’s little denying the skilled craftsmanship of writer/director Geddes’ civil war zombie flick – the opening sequence alone, wherein Brian Cox soberly intones the narration of a recently discovered journal, immediately vanquishes any thoughts of just another DIY gutmuncher. With a sepia-drenched color palette and vivid animated montages detailing survivor Mark Gibson’s adventures amongst the walking dead, the film’s subtitle of “A Zombie Saga” bear no trace of hyperbole; this is more thoughtful survivalist drama than thrill ride horror flick.

Yet, even approached with that mindset, it’s hard to defend the excessive 113-minute running time considering that the character-based yarn takes Cox’s laconic phrasings as its internal metronome and is peopled with stock types as opposed to empathetic individuals. Among the several fan faves on hand, Bill Moseley and Dee Wallace turn in subtle, nuanced work as a twisted general and a soothsayer, respectively, but their characters are too hastily sketched to make much of an impression. (By contrast, Stephen McHattie seems to be memorizing lines for another project during his brief mumbling screen time as a field medic.)

The film rests squarely upon the shoulders of capable but limited newcomer Gibson whose frequent cries of anguish are indistinguishable from his frequent cries of anger or frequent cries of attack. An impressive but muted effort, inspiring more admiration at its innovative approach than genuine enthusiasm.