Marie has two appetites, sex and blood. Her career as a vampire is going along fine until two problems come up, she is interrupted while feeding on Sal (the shark) Macelli and she begins to... See full summary »
A wealthy San Francisco socialite pursues a potential boyfriend to a small Northern California town that slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people there in increasing numbers and with increasing viciousness.
The Egyptian vampire lady Miriam subsists upon the blood of her lovers. In return the guys or girls don't age... until Miriam has enough of them. Unfortunately that's currently the case ... See full summary »
Two American college students are on a walking tour of Britain and are attacked by a werewolf. One is killed, the other is mauled. The werewolf is killed but reverts to its human form, and the local townspeople are unwilling to acknowledge its existence. The surviving student begins to have nightmares of hunting on four feet at first but then finds that his friend and other recent victims appear to him, demanding that he commit suicide to release them from their curse, being trapped between worlds because of their unnatural deaths. Written by
John Vogel <firstname.lastname@example.org>
When David calls home to speak to his family, he speaks to his sister Rachel. During the conversation, they talk about their brother Max. Max and Rachel are the names of Director John Landis's children. See more »
When the werewolf is seen approaching the escalator in the Tottenham Court Road underground station, a foot of one of the crew pushing the werewolf along is clearly visible at the end of the shot. See more »
That way is Proctor, and over here is the moors. I go this way.
Thanks for the ride, sir. You have lovely sheep.
Boys, keep off the moors, stick to the roads. The best to ya...
[then to the sheep]
We'll miss you.
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All characters and events in this film are fictitious. Any similarity to actual events or persons, living, dead, or undead, is purely coincidental. See more »
John Landis reveals a philosophical take on mankind in this film, namely, that we have two natures: one benign, one monstrous. The werewolf legend handily serves as that proposition's allegorical vehicle, and compared to the alluded-to Nazi atrocities in two scenes, the legend actually pales. Sadly, under the dark impetus of our arrogance and vanity, our metaphorical "full moon", man is perfectly capable of transforming into nightmarish beast.
As a director, Landis approaches Hitchcock in terms of scene economy and symbolism. For example, the opening sequence set on the moors of northern England features the tragic hero David and his friend Jack climbing out of the bed of a truck laden with sheep - benign animals destined for slaughter. Biped "sheep" David and Jack meander to "The Slaughtered Lamb", a pub sheltering cowering, xenophobic locals from the monster afoot on the moors during full moon. Soon the inhospitality of the town folk compels the two lambs to leave - virtually sending them to their slaughter.
And so it goes throughout this brilliant film. Without revealing the ending, it can be stated that Landis makes his case against the idea that love conquers all; instead, he suggests that love only gives the beast within us pause.
Beware the moon.
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