4 Shots From Horror Films: 2010s Part One


This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we begin the 2010s!

4 Shots From 4 Horror Films

The Wolfman (2010, dir by Joe Johnston)

The Wolfman (2010, dir by Joe Johnston)

Insidious (2010, dir by James Wan)

Insidious (2010, dir by James Wan)

Let Me In (2011, dir by Matt Reeves)

Let Me In (2011, dir by Matt Reeves)

The Cabin In The Woods (2012, dir by Drew Goddard)

The Cabin In The Woods (2012, dir by Drew Goddard)

Under the Moon’s Shadow: The Many Faces of the Modern Werewolf in Cinema


“Beneath the full moon’s gaze, the werewolf’s howl reminds us that the monster we fear most lives within.”

Werewolves have been haunting movies for almost a century, capturing our deepest fears and hidden desires. But today’s werewolf films go beyond the classic horror formula, offering fresh takes that reflect different genres, tones, and cultural vibes. From the intense, action-packed Dog Soldiers to the emotionally charged coming-of-age story in Ginger Snaps, modern werewolf stories keep evolving. This piece explores five standout films—Dog Soldiers (2002), Ginger Snaps (2000), Wolfen (1981), The Howling (1981), and An American Werewolf in London (1981)—to see how they each put their unique spin on the age-old monster myth.

The Werewolf as Warrior: Dog Soldiers’ Brutal Siege

Neil Marshall’s Dog Soldiers breaks away from the lonely, tragic werewolf trope and cranks up the action. Set deep in the Scottish Highlands, it throws a squad of British soldiers against a ferocious pack of werewolves. This film turns the myth into a survival war story packed with tension and raw energy, reminiscent of classics like Aliens and Zulu. The werewolves here aren’t lonely victims—they’re terrifying predators, more beast than man, rarely fully shown to keep the suspense sharp. The movie focuses on the squad’s fight to survive and the bonds they share, putting teamwork and instinct front and center.

The werewolves are intentionally faceless threats, less about human drama and more about pure danger. Instead of personal transformation, Dog Soldiers is about external combat, the struggle between man and beast in its rawest form.

Adolescence Unleashed: Ginger Snaps and the Lycanthropic Metaphor

Ginger Snaps takes a totally different route, using werewolf transformation as a metaphor for female puberty and all the confusing emotions that come with growing up. The bridge between monster and metaphor is Ginger’s first period, which triggers her curse and mirrors the changes and fears of adolescence. The movie digs deep into sisterhood, identity crises, and the loss of control, wrapping its horror in psychological drama and dark humor.

Instead of flashy creature effects, Ginger Snaps keeps things subtle, focusing on emotional truth. It’s a personal story about change and fear of becoming “other,” making the monster symbolic of real-life struggles rather than just an external threat.

Urban Shadows: Wolfen’s Mystical Guardians of Decay

Wolfen stands apart for taking the werewolf myth into the world of urban decay and social unrest. Set in New York City’s rundown South Bronx, it follows detectives chasing a mysterious “Wolfen” creature tied to Native American spirituality. These aren’t just monsters—they’re ancient protectors fighting back against the destruction of nature by the city.

This movie trades fast-paced horror for slow-building atmosphere and social commentary. It uses the werewolf myth to reflect on displacement, environmental trauma, and the clash between nature and modern life.

Satire and Savagery: The Howling’s Shifting Tones

Joe Dante’s The Howling mixes body horror, camp, and satire in a way few horror movies do. The film tracks a journalist who stumbles upon a hidden werewolf colony and shifts effortlessly between chilling scares and self-aware humor. The transformation scenes set a new standard with unforgettable effects, and the movie sneaks in sharp critiques of media culture and cult mentality.

The werewolves in The Howling have a raw, animalistic design inspired by medieval art, which adds to the unsettling vibe. The film plays with expectations, flipping between serious horror and playful camp to keep viewers on their toes.

Tragedy and Humor: An American Werewolf in London’s Genre Fusion

An American Werewolf in London changed the game by blending horror, comedy, and tragedy all in one. It tells the bittersweet story of an American backpacker cursed after a werewolf attack in England. The special effects were groundbreaking, making the transformation scenes legendary. But more than the effects, its mix of sharp wit and real sadness gives it an emotional depth rare for horror films.

Unlike the external threats in Dog Soldiers or Wolfen, this film focuses on the inner turmoil of becoming a monster and the tragic human cost. The humor lightens the mood but never undercuts the emotional punch.

Thematic and Stylistic Divergence: A Closer Look

What stands out most when looking at these films is just how differently each approaches the werewolf myth, using it to tap into a wide variety of fears and ideas.

Tone and Mood

The films differ widely in tone. Dog Soldiers is intense and gritty, pulling viewers into a tense battle for survival marked by an unrelenting external threat. In contrast, Ginger Snaps is more reflective and symbolic, presenting the werewolf as a metaphor for adolescent change and identity struggles, especially in the context of female puberty. Its tone is intimate and emotionally charged.

Wolfen adopts a slower, more brooding atmosphere, emphasizing mystery and social critique through ecological and urban decay themes. The Howling fluctuates between genuine body horror and camp satire, challenging viewer expectations with its mix of fear and humor. Finally, An American Werewolf in London balances horror and comedy with a tragic undertone, creating an emotional complexity that few other werewolf films achieve.

Narrative Focus

The stories told by these films further highlight their differences. Dog Soldiers centers on a group dynamic, focusing on survival against a faceless external menace. Ginger Snaps is more inward-looking, exploring personal growth, family bonds, and the emotional upheaval of transformation.

Wolfen zooms out to look at social and environmental issues, making the werewolf a symbol of nature fighting back against urban chaos. Similarly, The Howling blends personal horror with cultural critique, exploring media obsession and cult psychology, all while keeping the story focused on its characters. An American Werewolf in London chooses to dive deep into one man’s tragic journey, showing the emotional impact of becoming a monster.

Cultural Themes

Together, these films show how the werewolf myth can reflect whatever fears or themes society is grappling with. Dog Soldiers taps into worries about survival and overwhelming outside forces; Ginger Snaps gets at the confusion and pain of growing up; Wolfen reflects alienation and environmental concerns; The Howling examines media hype and societal madness; and An American Werewolf in London highlights inner conflict and loss.

This broad range of themes and styles proves the werewolf legend is still incredibly adaptable—still a powerful way for films to engage with human experience in all its complexity.

Other Modern Werewolf Films in Context

Beyond these main works, many other films contribute to the werewolf legacy. The Company of Wolves (1984) explores gender and sexuality through fairy tale visuals. Silver Bullet (1985) adapts Stephen King for a small-town horror tale. Joe Johnston’s The Wolfman (2010) revives gothic horror with modern effects and includes standout makeup work by Rick Baker, delivering a visually rich yet emotionally complex take on the classic. Mike Nichols’ Wolf (1994) uses lycanthropy as a metaphor for aging and desire.

Most recently, Leigh Whannell’s remake of The Wolfman (2024) offers a fresh perspective on the myth, blending psychological horror with visceral transformation sequences. Whannell’s version emphasizes the protagonist’s internal struggle and familial curses within a contemporary setting, melding suspense with a nuanced character study and updated special effects to appeal to modern audiences while honoring the gothic roots.

Adding a lighter touch is The Monster Squad (1987), where a group of kids face off against classic monsters—including a reluctant Wolfman—in a mix of horror, adventure, and youthful courage. Its playful tone offers a nostalgic, fun take on the werewolf legend, proving that these creatures can captivate across genres and generations.

Together, these films highlight how the werewolf myth keeps evolving, adapting to reflect new cultural moments and storytelling styles.

Conclusion: Why the Werewolf Still Howls

The lasting power of werewolves in cinema lies in their extraordinary adaptability. These films show how the werewolf morphs to fit different narratives and cultural concerns: from brutal external threats in Dog Soldiers to metaphors for personal growth in Ginger Snaps; from mystical protectors in Wolfen to symbols of media mania in The Howling; and from tragic heroes in An American Werewolf in London to youthful adventurers in The Monster Squad.

The werewolf is not just a monster of flesh and fur but a cultural shape-shifter—malleable, symbolic, and endlessly fascinating. Its transformations mirror not only physical change but societal anxieties, personal struggles, and the complexities of human nature. This versatility guarantees the werewolf’s howl will echo across cinema for generations to come.

Live Tweet Alert: Join #ScarySocial for The Wolfman!


As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, at 9 pm et, Tim Buntley will be hosting #ScarySocial!  The movie?  2010’s The Wolfman!

If you want to join us this Friday, just hop onto twitter, start the movie at 9 pm et, and use the #ScarySocial hashtag!  I’ll be there tweeting and I imagine some other members of the TSL Crew will be there as well.  It’s a friendly group and welcoming of newcomers so don’t be shy.

The Wolfman is available on Prime!

See you there!

4 Shots From 4 Werewolf Films: Werewolf of London, The Curse of the Werewolf, Werewolf Woman, The Wolf Man


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking.

Today, we pay tribute to a very special breed of monster with….

4 Shots From 4 Werewolf Films

Werewolf of London (1935, dir by Stuart Walker)

The Curse of the Werewolf (1961, dir by Terence Fisher)

Werewolf Woman (1976, dir by Rino Di Silvestro)

The Wolfman (2010, dir by Joe Johnston)

Horror Film Review: The Wolfman (dir by Joe Johnston)


I have to admit that I’m always a little bit surprised to discover how many people really don’t like the 2010 film, The Wolfman.

I mean, I’ll be the first to admit that it may not have been the greatest film ever made but the amount of negative feelings that this film has managed to generate over the years seems, to me, to be a bit out of proportion.  Essentially, it’s just a silly film about a werewolf.

Yes, it is a remake of The Wolf Man and we’re all honor-bound to dislike remakes but, if we’re going to be absolutely honest, the original Wolf Man was sometimes pretty silly too.  If anything, the original’s success is largely due to the heartfelt work of Claude Rains in the role of the Wolf Man’s father.  Yes, the original Wolf Man is a classic but remaking it is not exactly sacrilege.

In the remake, Benicio Del Toro takes over the role of Larry Talbot, who is reimagined as a Shakespearean actor who has a history of mental instability.  Del Toro is not exactly convincing as an Englishman, though the same could be said of Lon Chaney, Jr.  However, nobody broods with quite the panache of Benicio Del Toro and that’s what was needed for the remake’s version of Larry Talbot.  If Lon Chaney, Jr. played Larry as being a dumb lug, Del Toro plays Larry as being a tortured artist.

Anthony Hopkins takes over the old Claude Rains role.  Just as it’s difficult to imagine Del Toro as being English, it’s next to impossible to imagine him sharing any DNA with Anthony Hopkins.  And yet, I’m really glad that Hopkins was cast in the role.  Of course, in the remake, the character of John Talbot has been totally reimagined.  He’s now something of a bitter and sarcastic alcoholic, a negligent father who always seem to be amused at some mean-spirited joke that only he can understand.  I imagine that if I asked Hopkins, he’d say that he did this role for the money but there’s nothing wrong with that.  Some of Hopkins’s best performances have been the ones that he subsequently claimed to have done only for the money.  Freed from any obligation to give a nuanced or subtle performance, Hopkins goes totally over-the-top and it’s actually a lot of fun to watch.  In The Wolfman, Hopkins turns the delivery of bitter bon mots and erduite insults into an art form.

Watching the film’s first half, we all know what’s going to happen.  Gypsies are going to show up in the woods near Talbot Hall and paranoid villagers are going to blame them for everything that happens.  Larry is going to get bitten by a werewolf and transform every night when the moon is full.  Larry is going to fall in love with Gwen (Emily Blunt) but, for her own protection, will try to send her away.  An arrogant but clever inspector, Francis Abberline (Hugo Weaving, playing a version of the real-life detective who inspired the role played by Johnny Depp in From Hell), is going to arrive from London to investigate all the recent deaths…

About halfway through, The Wolfman takes a totally unexpected turn.  I won’t spoil it here, just in case you haven’t seen the movie.  I know a lot of people don’t care much for the big twist but I happened to love it.  Yes, it doesn’t necessarily make a lot of sense and it’s all a bit overdone but so what?  It’s exactly the type of weird twist that a movie like this needs.  It all leads to a final confrontation, one that is as exuberantly silly as the original’s conclusion was somber and tragic.

The key to enjoying The Wolfman is to accept it for what it is, an occasionally dumb and definitely not-to-be-taken-seriously movie that features some appropriately atmospheric cinematography, gorgeously gothic production design, and some very talented actors.  (I especially enjoyed Weaving’s performance as Abberline.)  A classic it may not be, but it’s still a fun little movie if you’re in the right mood for it.

4 Shots From Horror History: The Wolfman, Insidious, Let Me In, The Cabin In The Woods


This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we begin our current decade!

4 Shots From 4 Films

The Wolfman (2010, dir by Joe Johnston)

The Wolfman (2010, dir by Joe Johnston)

Insidious (2010, dir by James Wan)

Insidious (2010, dir by James Wan)

Let Me In (2011, dir by Matt Reeves)

Let Me In (2011, dir by Matt Reeves)

The Cabin In The Woods (2012, dir by Drew Goddard)

The Cabin In The Woods (2012, dir by Drew Goddard)