Werewolves, 2024.
SYNOPSIS:
Two scientists seek to avoid a mutation that transforms other people into werewolves after being touched through a super moon last year.
Werewolves is as original and exciting as its generic title. Director Steven C. Miller and screenwriter Matthew Kennedy seem to be aware that there is an emotion to look at the direct video game and that the vibries video the game that launches the effort, but then it is established in anything too serious and soft, with a Hero fighting through a city to return to a father who repels a werewolf in scenes that are equivalent to an invasion of a boring house without sensations. A minute, there is the impression that they perceive the tone that this family curtain deserves to have, soon translates into clumsy sincerity, as if something about those characters or this story deserve to participate with a deeper wavelength. Although everything kisses absurd in his third act, too late.
Sticking with that video game analogy, the creative approach here resembles if a filmmaker wanted to adapt Resident Evil: Village by way of Resident Evil 2, with a dash of Doom and Duke Nukem (no, Frank Grillo is not playing a chauvinistic pig, but he does get to deliver amusing one-liners such as “come here you hairy [expletive]” to werewolves adorned in punk rock attire.) In theory, that sounds like a recipe for some gnarly horror-based action, but bluntly put, this film doesn’t deliver on that front, even with the reliably macho screen presence of Frank Grillo. It’s stuck following the logic of a video game but without filling those beats with memorable action. Yes, there are several encounters with the werewolves. However, they typically end as soon as they begin, whether from a stun gun or the tired steel pole impaling as the werewolf lunges toward its prey.
From the beginning, the presentation is incredibly out of the ordinary, explaining its premise through text graphics on the screen that give the impression of seeing a trailer. Be that as it may, the main thing is that exposure to the moon transforms humans into werewolves for the night, which means that violence and butcher shop occurs. Naturally, scientists also publish reports on other people very delicate to this mutation, hoping to save or opposite transformation. Frank Grillo is Wesley, one of those team members who cry the loss of his brother in the opposite combat to those monsters. He regularly visit his sister -in that can protect anyone.
I’m tied up, you can guess what the night is like for Cody. And while there’s a pointy commentary on the concept that the budding protector who turns weapons into a werewolf and hurting a society that claims to care, it’s also a reasonable goal and metaphor for during this time, the structure of the world, lab reports, and other brought side sons are deserted to watch Wesley visit the night along with other scientists (law of Katrina), while calling Lucy and the opportunity to make her and her daughter safe from a mutated werewolf, Cody who seeks to penetrate. There is no emergency, weight or suspense to all this. The action sequences are also very sewn together (at some point, the characters are in a lab hiding from a werewolf, just for the cutscenes).
With the exception of the PlayStation 2 CGI for those transformations, the werewolves cleverly use costumes, makeup, and practical effects, all manipulated with abundant craftsmanship while imbuing each werewolf with users. Whether Cody is the one who holds a tattoo of “Wolf-Ganou’s Killer” or the punk-rocker Loup-Ganou discussed above, there’s an admirable effort to stay in the audience’s mind that those are people while separating them from the assembly like an assembly like a Fodder to cut into what is necessarily a video game movie (there’s also an occasional attitude in the first user in the lab, that appears oxygen titles, since we are players who deserve to be careful and handle it).
For a film that has a ConsexerCisets budget, werewolves are indeed more aesthetically pleasing than some recent blockbusters. The challenge is that it’s meandering and forgets that this is a movie about Frank Cricket in the decline of werewolves. It’s a bloody laugh time in which she functions. This thought exercise, which is not confusing.
Scintilling Myth – Film: ★ ★ / Film: ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Choice Critics Association. He is also the editor of the myth complaint. See new complaints here, my twitter or letterboxd or send me an email to metalgearsolid719@gmail. com