Directed by:
Michael GiacchinoScreenplay:
Heather QuinnCinematography:
Zoe WhiteComposer:
Michael GiacchinoCast:
Gael García Bernal, Laura Donnelly, Harriet Sansom Harris, Eugenie Bondurant, Kirk R. Thatcher, Leonardo Nam, Al HamacherVOD (1)
Plots(1)
On a dark and somber night, a secret cabal of monster hunters emerge from the shadows and gather at the foreboding Bloodstone Temple following the death of their leader. In a strange and macabre memorial to the leader’s life, the attendees are thrust into a mysterious and deadly competition for a powerful relic – a hunt that will ultimately bring them face to face with a dangerous monster. (Disney+)
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Reviews (6)
In a nutshell, it's a Halloween prank that Marvel probably wanted to test Michael Giacchino, the director, on. Or at least I would like it to be so, because I have no reservations about the direction and if Giacchino wants to continue and get his own feature film someday, I guess we have something to look forward to. I just hope that film has a better script.
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Since Endgame, Marvel has mostly become a sterile spectacle without any innovative ideas. For me, the brand has started to stagnate quite a bit. That's why I appreciate that someone tried to come up with something completely outside the overall concept. It's an even bigger surprise for me that the direction was taken on by Michael Giacchino, the creator of excellent soundtracks. Werewolf by Night relies heavily on top-notch audiovisuals, which (thanks in part to the black-and-white filter) transport you to the 1930s. The camera work and luxurious editing create a unique experience. It's a bit disappointing that the story doesn't deviate much. There's one twist, but it didn't overly surprise me. I probably won't watch this hour-long film again, but I'm glad it was made. For me, it's a nice piece of work. 7/10.
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Quite an entertaining romp that didn't surprise me at all with its stylistic homage to the horror films of the 1930s and 40s, with the emphasis on shadow play, but I was quite taken aback by the Wizard of Oz-inspired narrative and at times the really off-kilter layering of ideas. Unfortunately, it's not very narrative, and the promised violence is a weak tea compared to The Wolfman with Del Toro, but there is potential for a fresh and playful franchise – and it could be with Giacchino in the director's chair, there are several sequences with strong backlighting that are undoubtedly impressive and the composer clearly has a soft spot for B-horror films of the past. It's a pity he didn't have a better script at hand with less banal dialogue, which would have thrown the spotlight on a more coherent formal grip and forgiven the campy moments and failed humour. Nice 70 %.
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It was good. Giacchino fulfils his childhood dreams and after composing film music, he also makes films like he did in his cellar when he was a kid. The horror atmosphere is fine, even the quite surprising plot with the lesson that monsters stick together. Maybe the visual effects sequences and the black and white stylisation are a bit weird.
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Much more likeable for what it's trying to do than for what it is. While they went for a black-and-white stylisation and a "sort of old filmstrip" full of artifacts, lighting, and shots, it still overuses CGI instead of practical effects and make-up (they are used, but they don’t look very good), and there’s also this ragged unstymied inconsistency in concept. Incidentally, Bernal's casting follows in the footsteps of the Hull/Chaney/Del Toro legacy, but it's way off, he takes it too seriously. What a difference from the perfectly trashy and overdone Harris, who is true to his predecessors. Moreover, it's considerably uneven; the stylish opening, where it feels like a homage to Universal, and the conclusion are both effective, but the middle passage is classic Marvel fluff, tripping over its own feet with light-hearted jokes and opening the door to a new branch of the MCU.
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Gallery (15)
Photo © Disney+
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