Fantastic!

Story: It's very simple but honestly that is fine.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

The movie really just wants to entertain people.

The movie is probably one of the hidden gems that got lost during the 80's slashers and werewolf themed films. I say this because one might have different expectancy after reading the synopsis and the tag lines.For me (a big horror and art movies fan) it was one of those rare films which didn't just deliver sensations (fear, edge of the seat experience, etc.), but also provides a clear and thoughtful message that stays with you after the credits roll.For those who like symbolism, mysticism, there is a lot to discover in this movie.Although there is no other resemblance, except the profound Eco message, i would put it together with "Emerald Forest"(Earth theme)and the more artsy "Embrace of the Serpent"(Civilization theme).For me, as an animal and nature lover, it had a similar impact, mostly because this was intertwined with the themes of the movies I've mentioned above. Also deals with the fact the every progress of mankind means also some regress as well(technology vs senses/empathy).Scripting and acting wise it isn't very spectacular, but compensates with good camera-work and concept/message. It will age well and will be relevant in the next decade too.Highly recommended!

A series of gory killings in and around New York City, mutilations done by a Jack the Ripper-type, are investigated by a hardened veteran police detective and his cynical female partner. Aside from some interesting Steadicam photography from the predator's point of view, this 'thoughtful' thriller about territorial spirits manifesting themselves as wolves isn't very suspenseful. Albert Finney, wrung-out and with a whopper-crop of fluffy hair, pieces together the mystery with bleary eyes and mouth askew; his blasé manner isn't used for salty humor, though--he really does look bored. David M. Eyre and Michael Wadleigh adapted their weak screenplay from Whitley Strieber's novel "The Wolfen," and Wadleigh also directed (it was his first feature following directorial duties on the 1970 documentary, "Woodstock"). In a ludicrous example of what eventually follows, the filmmakers attempt to raise shivers by having a nude Edward James Olmos run around at night like a madman, drinking from a puddle and howling at the moon. *1/2 from ****

1981 is regarded by horror fans as the Year of the Werewolf. Three high profile films came along to revive the moribund sub-genre, pushing it to new extremes with cutting edge creature effects. "An American Werewolf in London" and "The Howling," both being masterpieces of varying degrees, get all the attention. However, "Wolfen," the third killer wolf movie of the year, shouldn't be overlooked. It's very different from the other two but valuable in its own right.Based off the debut novel of Whitley Strieber, back before the author lost his mind, the film follows police detective Dewey Wilson. A local millionaire and real estate developer, along with his wife and body guard, are mysteriously murdered. Paired up with police psychologist Rebecca, and with help from an eccentric zoologist and forensic mortician, Dewey further investigates the crime. The hairs of an unknown subspecies of wolves are found on the quickly piling up bodies. Dewey and Rebecca's paranoia begins to grow, both feeling stalked by wolf-like spirits. The local American Indian population calls them the Wolfen, beings halfway between wolves and gods. By why are they killing?"Wolfen" is ultimately structured like a detective story. We are presented with murders. Wilson and his pals investigate leads and clues. There are false starts, like the millionaire's activist niece or a militant Indian activist recently released from prison. As the clues slowly start to mount, the rational protagonists are forced to confront the impossible. Just when things are starting not to make sense, a character wanders in to provide some mystical exposition, setting up the last act where the murderer is revealed.The audience knows they're watching a horror movie, however. We know something unusual is happening. So the first hour of this two hour movie drags a bit. "Wolfen" attempts to build atmosphere by featuring mysterious POV shots, roaming first-person perspective with odd coloration. This effect is overused though, boring the audience. When unimportant characters are getting bumped off, it becomes clear that "Wolfen" is starting to spin its wheels. A stalking scene in an abandoned church really seems to go on. The first half at least takes the time to develop the relation between its protagonists, Albert Finney and Diane Venora developing a realistic romantic chemistry.Luckily, the second half of "Wolfen" really picks up the pace, building to an excellent conclusion. An attack in a zoo uses the unseen very well, tension mounting nicely. The case begins to affect Dewey and Rebecca's peace of mind. The film shows this fantastically, especially in a moment where Wilson sits in his car, catching a glimpse of a wolf pack briefly. Though the POV shots are overused, they wind up disguising the titular creatures. When they are first revealed, during a nighttime shot in the same abandoned church, it's truly startling.The film's climax is fantastic, the primary characters surrounded in a public place by the monsters. The tension rises each time a new wolf enters the scene. "Wolfen" has a wolf-aided decapitation that rivals a similarly excellent moment in "American Werewolf." As the chase moves into an apartment building, some intense thrills are generated. A shot cutting between the detective's eyes and the alpha wolf's eyes really stands out. The conclusion nicely balances ambiguity and answers, keeping the entities mysterious while still providing a satisfying ending.Finney breathes some new life into the wash-up detective character type. He conveys a real weariness. The movie's excellent supporting cast helps too. Tom Noonan and Gregory Hines are both highly likable as the eccentric zoologist and pragmatic forensic specialist. The characters are likable enough that, when they start die, it really effects us. "Wolfen" might not be on the level of 1981's other wolf classics but it's a worthy horror-thriller in its own right, an effectively orchestrated fusion of mystery, horror, and atmosphere.

I'm a huge werewolf movie fan, and have seen the bulk of them, but it has taken me until 2013 before I finally saw 1981's Wolfen for the first time.Previously, I had seen clips of this movie and knew it was: #1 mostly shot in first-person POV and #2 the "werewolves" were actual wolves. Like I said, I *love* werewolf movies, but I really don't like them to be actual wolves. I want to see standing werewolves, much like in The Howling. Those scare me and what doesn't is when a man turns into a dog. Blah.The one exception to this rule was the fantastic 1994's Wolf with Jack Nicholson and Michelle Pfeiffer. Everything else worked for me in that film, even though the characters turned into dogs.But, be that as it may, this movie was interesting and the continuous shots of the traveling "wolfen" were well-shot.New York City's getting face-lifts and this isn't faring with a wolf-pack group and they're attacking back. In come the police to investigate and make occasional love to women.An all-star cast (for back then) did help move this movie along, but it wasn't anything special and took way too long to see the beasts. I'm not ignorant enough to know back in the early 1980s (i.e. Friday the 13ths Part 1 and 2) it was common, and sadly, socially accepted to have the "killer" POV and I'm glad I wasn't around to take in the bulk of that.It's worth a watch – really, it wasn't terrible, but nothing to buy or rewatch.* * * Final thoughts: …at least these dogs the "Native Americans" turned into were ten times more convincing than that of the Twilight series to follow decades later.