Werewolves Christian Review
Werewolves have always carried an innate intrigue, haven’t they? Part man, part beast—torn between the civility of humanity and the savagery lurking beneath the surface. It’s a metaphor so ripe with narrative potential that it practically begs filmmakers to dive deep. And yet, here we have Werewolves, a movie that flirts with greatness but ultimately shies away from truly engaging with the complexities of its premise.
You walk into the film with a sense of anticipation, especially if you’re a fan of the genre. Werewolf movies, though sporadic in their arrival, often leave an impression. Think of The Howling or An American Werewolf in London. They didn’t just entertain; they made you feel something primal, something visceral. Werewolves, by contrast, seems content to merely scratch the surface.
A Promising Start That Falters
At first, there’s hope. The opening scenes lay the groundwork for a story that could go either way: a brooding atmosphere, practical effects that show respect for the old-school horror aesthetic, and a protagonist whose struggle with transformation hints at deeper themes. You start thinking, Okay, this could be something.
But then, it begins to unravel. Not catastrophically—there are no moments of outright absurdity that make you groan or check your watch. Instead, it’s a slow deflation, like a balloon losing air at a party that’s just starting to get good. The characters don’t feel fully formed, more like sketches of people than the real deal. And the story, while serviceable, never quite takes flight.
This is where the frustration sets in. You see glimpses of what could have been—a line of dialogue here, a tense confrontation there. The film knows what it wants to be, but it doesn’t know how to get there.
Missing the Heart of the Genre
For all its faults, Werewolves isn’t a bad movie. It’s entertaining enough, with moments that genuinely work. The problem is that it feels hollow, like it’s missing the soul of what makes werewolf stories so compelling.
The best entries in this genre are about more than just teeth and claws. They’re about the human condition, about wrestling with inner demons and the consequences of letting them take control. A werewolf isn’t just a monster; it’s a symbol of what happens when we lose ourselves—when we give in to anger, lust, greed, or any of the countless sins that threaten to pull us away from God.
Werewolves hints at these ideas but never really engages with them. The protagonist’s transformation is treated more as a plot device than a moral or existential crisis. There’s little reflection, little depth. And for a Christian viewer, that feels like a missed opportunity.
The Final Showdown: A Fizzle Instead of a Bang
And then there’s the finale. Oh, the finale. You want it to be good. You’re rooting for the movie, hoping it will pull everything together in a way that redeems its shortcomings. But alas, the final fight feels more like an obligatory conclusion than an epic showdown.
The stakes should feel sky-high. The protagonist’s journey should reach its emotional peak, forcing them to confront not just the antagonist but also themselves. Instead, it all feels rushed and underwhelming, like the filmmakers just wanted to get it over with.
It’s not that the action itself is bad—there’s plenty of blood and tension to satisfy the basics of horror. But it lacks weight, both emotional and narrative. You’re left feeling not exhilarated or moved, but simply… indifferent.
Moral Lessons Left Untouched
From a Christian perspective, the most disappointing aspect of Werewolves is its reluctance to explore the rich allegorical potential of its premise. Werewolf stories are tailor-made for themes of sin, redemption, and grace. The transformation into a beast can symbolize the consequences of giving in to our basest instincts, while the struggle for control mirrors the battle between flesh and spirit described in Galatians 5:17.
Imagine a film where the protagonist’s journey isn’t just about surviving as a werewolf but about grappling with the moral and spiritual implications of their condition. Imagine a story that uses the werewolf mythos to explore the power of God’s grace to restore even the most broken among us. That’s the movie Werewolves could have been.
But it isn’t. And that’s a shame.
What It Gets Right
Let’s give credit where credit is due. Werewolves has its moments. The practical effects are a breath of fresh air in an age dominated by CGI, lending the film a tactile quality that makes the horror feel more real. The atmosphere is appropriately eerie, with moody lighting and a sense of foreboding that keeps you on edge.
And while the characters are underdeveloped, there are flashes of personality that hint at what could have been. A snarky remark here, a vulnerable confession there—it’s enough to make you wish the script had gone through another round of revisions.
The movie also avoids some of the pitfalls that often plague modern horror. It doesn’t revel in gratuitous violence or sexual content, which is a relief. While it’s not exactly a family-friendly film, it’s clear that the filmmakers weren’t interested in shock value for its own sake.
The Verdict
In the end, Werewolves is a movie that falls squarely in the middle of the pack (pun intended). It’s not a disaster, but it’s not a triumph either. It’s the kind of film you watch once, enjoy for what it is, and then promptly forget.
For Christians, it’s a mixed bag. On the one hand, it’s relatively tame compared to many horror films, avoiding the more problematic elements of the genre. On the other hand, it doesn’t offer much in the way of spiritual or moral insight. It’s a movie about werewolves, but it’s not a movie about humanity.
If you’re a fan of the genre, it’s worth a watch. Just don’t go in expecting anything groundbreaking.
Final Rating: 5/10
It’s entertaining in parts, frustrating in others, and ultimately forgettable. Werewolves had the potential to be something special, but it never quite gets there. Instead, it settles for being just okay—and sometimes, that’s the scariest thing of all.
