Werewolf by Night

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1. ›Review - Werewolf by Night@thunderjack1332d

   Where to begin...The Marvel Cinematic Universe released Werewolf By Night special feature in October, and, well, I found it to be pretty good as a horror/thriller, but a bit weak on character development. I’ll explain what I mean, and try to avoid spoilers.

   Werewolf by Night - IMDB

   The basic plot is Ulysses Bloodstone has died, and his bloodstone amulet is up for grabs, and there will be a monster hunt to determine who gets the Bloodstone next, with the competitors including Jack Russell (The Werewolf), Elsa Bloodstone (the estranged daughter) and various Redshirts, I mean monster hunters. When I refer to the monster hunters, it is because there is so little character information on them, and not much dialog for them – no backstory.

   In fact, Elsa Bloodstone probably has the most developed backstory in this film, and yet, the title character, Jack Russell/Werewolf by Night, has very little backstory. Who is he, how did he get the Werewolf Curse? Did they mention any of that and I missed it, or is all of those details that make The Werewolf a sympathetic character, as he is in the comics, absent without leave. Do they expect people to go dig up a copy of Marvel Spotlight #2 and find out? Granted, I read through the whole original run of Werewolf By Night earlier this year, so I know his backstory, but how many viewers are going to know it?

   This film also introduces The Man-Thing into the MCU. Again, close to no backstory for him. Just a “treat him like an old friend and call him Ted” from Jack. How do they know each other, and how does Jack know Man-Thing’s name is Ted (short for Theodore – Dr. Theodore Sallis)? Yes, I read Fear back when I was a kid, and have a few issues in my collection (fun fact – Howard the Duck first appeared in Fear way back in the day...pretty sure I still have that issue in my collection). How did Jack know that Man-Thing was being used in a hunt? Come to think of it, how the heck did Jack Russell know about the hunt and how to get in? Was he invited by Monster Hunters Anonymous?

   I guess I am just a bit bugged by the lack of character development for the main characters, and somewhat bugged by the lack of development of the several Ensign Expendables in the film.

   Now if you are still with me, I can get to the stuff I liked about it.

   Most of the film was shot in black and white, kind of a homage to The Wolf Man (1941) that starred Lon Chaney, Jr. Also, black and white film is a great format for suspense and horror, as the lighting techniques that can be used can provide interesting shadow effects, adding in the intensity of creepiness. Some of the best films were shot in black and white, especially Film Noir as well as some of Hitchcock’s best work. This was a very smart choice on the part of the production team.

   The story is interesting, and moves at a good pace, and although it has a fairly good dose of violence (surprised?), it is not as graphic as some other films made in recent history.

   The physical depiction of The Werewolf is fairly close to what one would expect, especially anyone who has read Werewolf by Night, and The Man-Thing is spot on, they even added some interesting facial expressions to him, which is nice touch.

   Overall I thought it was a good film and well worth watching. If you haven’t seen it and have access to Disney+, break out the popcorn and root beer and give it a run. It’s worth checking out.

   Thanks for stopping by.

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2. ›Werewolf By Night (2022) review: Finally, something different...@richardalexis1335d

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   Despite the fact that unlike its more "Traditional" counterparts Werewolf By Midnight did not cause much of a stir, the recent TV special produced by Marvel Studios exclusively for Disney Plus not only manages to establish itself within its small catalog as a simple and effective horror story, but also represents a much-needed breath of fresh air in the confines of the MCU.

   In essence, it is an adaptation of the comic of the same name, well known for being part of a series of "horror" stories created in the 70s where Marvel hoped to take advantage of the considerable level of success that Universal Monsters had to create their own creatures (remember, these universal monsters ironically forged the idea of ​​a shared universe several decades before Jon Favreau's Iron Man hit theaters). Although currently they are not exactly the most recognized creations of the American company, they were the point of creation of many characters adored by the public such as Moon Knight or his own adaptation of Dracula.

   In this case, Werewolf By Midnight presents us with a 50-minute story, where we meet a group of assassins and monster hunters in their fight for the "bloody stone", a mcguffin with quite abstract properties created to motivate the colorful protagonists to face each other each other in pursuit of unimaginable power.

   Directed by Michael Giaccino, Werewolf By Midnight represents an unexpected but necessary change of pace within Marvel, embracing the lore that all movies and series released over the years have built on, but at the same time able to exist in isolation. Paying homage to the horror classics that characterized the middle of the last century (something evident in its presentation in black and white and its visually atmospheric nature), we have an uninhibited story, much more violent than usual, but capable of being digestible without falling into the pedantic.

   The characters introduced are varied and charismatic, but at the same time expendable and transient, and the resolution of their conflicts, although formulaic, responds very well to the structure of its first two acts.

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   It is far from being a work of art but it is an experiment interesting enough to generate in its viewers the desire for more things of this style to be made, and less things like everything else that has been released this year. It highlights the use of practical effects, beautiful photography, and performance that Coexist in a very organic way with a well-written script.

   

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   A pesar de que a diferencia de sus contrapartes más "Tradicionales" Werewolf By Night no causó demasiado revuelo, el reciente especial de TV producido por Marvel Studios de forma exclusiva para Disney Plus no solo logra eririgirse dentro de su pequeño catálogo como una simple y efectiva historia de terror, sino que aparte representa un soplo de aire fresco muy necesario en los confines del MCU.

   En esencia, se trata de una adaptación al cómic del mismo nombre, muy reconocido por formar parte de una serie de historias de "terror" creadas en los 70s en dónde Marvel esperaba aprovechar el nivel de éxito considerable que tenían los Monstruos de Universal para crear sus propias criaturas (recordemos que estos monstruos de universal, irónicamente, forjaron la idea de un universo compartido varias décadas antes de que el Iron Man de Jon Favreau llegara a los cines). Aunque en la actualidad no son precisamente las creaciones más reconocidas de la empresa americana, fueron el punto de creación de muchos personajes adorados por el público como Moon Knight o su propia adaptación de Drácula.

   En este caso, Werewolf By Night nos presenta una historia de 50 minutos, dónde conocemos a un grupo de asesinos y cazadores de monstruos en su lucha por la "piedra sangrienta" un mcguffin de propiedades bastante abstractes creado para motivar a los pintorescos protagonistas a enfrentarse entre si en la búsqueda de un poder inimaginable.

   Dirigida por Michael Giaccino, Werewolf By Night representa un cambio de ritmo inesperado pero necesario dentro de Marvel, abrazando el lore que han construido todas las películas y series estrenadas a lo largo de los años, pero al mismo tiempo capaz de existir aisladamente. Homenajeando a los clásicos del horror que caracterizaban la mitad del siglo pasado (Algo evidente en su presentación en blanco negro y su naturaleza tan visualmente atmosférica), tenemos una historia deshinibida, mucho más violenta de lo usual, pero capaz de ser digerible sin caer en lo pedante.

   Los personajes introducidos son variados y carismáticos, pero al mismo tiempo fungibles y pasajeros, y la resolución de sus conflictos aunque resulta formulaíca, responde muy bien a la estructura de sus dos primeros actos.

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   Dista de ser una obra de arte pero es un experimento lo suficientemente interesante como para generar en sus espectadores el deseo de que se realicen más cosas de este estilo, y menos cosas como todo lo demás que se ha estrenado este año. Se destaca el uso de efectos prácticos, una hermosa fotografía, y performance que Coexisten de forma muy orgánica con un guión bien redactado.

   

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