Editor’s Note: This review contains spoilers for “Werewolf by Night.”
With the overwhelming surge of Marvel’s Disney+ content, “Werewolf by Night” joined the lineup on Oct. 7. Directed by Michael Giacchino, the film stands out for a variety of reasons.
Since the Marvel Cinematic Universe (MCU) has slowly been dipping its toes into the beloved genre of horror with their witches and zombies, it was very fitting and refreshing to introduce its titular werewolf. However, this self-contained MCU project is the only one that features a monster character while embracing the gothic, old-Hollywood horror aesthetic from the get-go.
Billed as a television special, the opening credits of Marvel Studios seem nothing out of the ordinary at first. An overlay of a werewolf’s claw mark suddenly interrupts the theme — dissipating the vibrant red hues to black and white. Each claw mark is followed by a classic horror scream, and the recognizable fanfare shifts to a hauntingly sinister score. It’s dramatic, campy, but most importantly, it feels different.
The first act is the slowest of them all, and it takes a while before the action begins.
The protagonist, Jack Russell (Gael García Bernal) and a cast of monster hunters arrive at the manor to meet their leader, Verussa Bloodstone (Harriet Sansom-Harris) who sends them all in a battle-royale-like ceremonial hunt for the Bloodstone — an ancient relic granting its hosts with superhuman abilities.
The second act takes place in a maze-like arena where the skillful competitors hunt for a monster known as Man-Thing (Carey Jones) — also named Ted — that possesses the stone. Here, the film follows Elsa Bloodstone (Laura Donnelly), the stoic step-daughter of Verussa, and her progress through the maze until Jack accidentally traps them in a burial vault.
While the film seems to operate in a completely different realm from other projects, “Werewolf by Night” stays true to Marvel’s colors and ethos by presenting a socially awkward yet likable protagonist with altruistic goals.
Jack reveals that his intent is not to hunt down the monster but to free it. Elsa then explains her goal of reclaiming the bloodstone to redeem herself from her title as the blacksheep of her family. The two form a temporary alliance and manage to retrieve the stone from Ted, who escapes from the maze unharmed.
However, things get hairy after Jack’s explosive encounter with the bloodstone. It is revealed by Verussa that the bloodstone repelled the monster hunter because Jack himself is a monster as well. While Elsa awaits for his gruesome transformation of becoming “Werewolf,” she accepts her impending doom as she is trapped with Jack in a cage.
Marvel Studios faced some divisive reception from its audiences who criticized their latest visual effects and CGI. However, using modern technology to generate any heavy special effects for this film would be too distracting and incongruous with the raw, vintage world this special committed to. The production made a bold creative choice with Jack’s werewolf appearance, and the payoff is nostalgic and refreshing.
The film artistically dodges a bullet by depicting Jack’s werewolf transformation through dynamic shadows and silhouettes. Yet when the audience finally gets to see his monster form, there is much to be appreciated of the practical makeup that went into his bestial transformation. From the prosthetic nose and ears to his menacing visage, Bernal successfully emulates that classic werewolf look, and his authentic design reads as a love letter to Lon Chaney Jr’s portrayal of “The Wolf Man” in 1941.
The third act finds its middle ground between fright and fun when Jack, in his bestial form, viciously attacks and claws his way through a lineup of soldiers. Elsa manages to escape the cage, and just like her performance in the arena, she holds her own against the ruthless monster hunters with some impressive sword-wielding kills. This gruesome sequence is packed with intense action and gore, but it does not stray too far outside its PG-13 parameters.
The lack of graphic censoring comes as a shocker to any MCU fan. Yet, the black-and-white color grading functions as its own way to subdue the violence. This is most prominent in the bloodfest that ensues as Werewolf finishes off his last remaining victims in a memorable one-shot scene. It becomes a thriller night with Werewolf’s beastly murders — splattering blood on the screen with each grisly kill.
This bloodfest lasts until Werewolf reunites safely with Ted, and Elsa redeems herself by reclaiming the bloodstone and manor. In a “WandaVision” like fashion, the grim atmosphere is suddenly restored with modernity as a burst of vibrant colors are diffused. It feels as if things are finally back to where they belong, and this colorful transformation hints at the future of these characters in the MCU as they leave their old world of black and white behind.
While the film finds its footing in the horror genre, it remains on the precipice before reaching its full potential with fully-fleshed out characters and substantial backstories. Due to its short runtime, the origins of certain characters and components feels lacking and undeveloped. The cast of monster hunters lack dimension and exist merely as cliché rivals for our heroic protagonists Jack and Elsa, who succeed as an interesting duo.
Nonetheless, the 54-minute special is a nostalgic treat for audiences in spirit for the upcoming Halloween occasion. From dark comedy to gothic elements, Giacchino pays homage to the classic Universal monster films of the mid-20th century.
“Werewolf by Night” prompts Marvel to embark on a new genre by bringing together classic horror fans and dedicated Marvel fans. Although the film suffers from its limited time and hollow soul, Marvel offers a unique diversion in an overly saturated sea of superhero content.
Raymond Dinh is an Arts & Entertainment Intern for the fall 2022 quarter. He can be reached at raymontd@uci.edu.
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