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The Howling Reviews
The movie is a genuine special effects knockout.
The Howling is well-directed by Joe Dante, who keeps the film moving so rapidly it seems to be over in half its actual running time.
One of the rare films that could actually benefit from a longer runtime, The Howling nevertheless impresses with incredible practical effects and a raw performance from Dee Wallace.
Joe Dante's B-movie is sleazier than An American Werewolf in London (complimentary), and the practical effects are just as good. A little odd, a little sexy, and a nice bit of humanity from star Dee Wallace.
What the film lacks in plot it makes up in special effects, bizarre metamorphoses and the sort of gory shocks that the contemporary juvenile audience is said to demand.
Second only to 1941’s The Wolf Man as the best werewolf flick ever made.
If "The Howling" doesn't get you with pure fright, it'll kill you with laughter.
It's a superior entertainment -- as creepy, witty, and suggestive as its disreputable genre would warrant.
Director Joe Dante has handled these horrible horror without a qualm.
Were it not for the gruesome efficacy of Rob Bottin's expert special make-up effects, the whole ironic edifice might be overbalanced by its in-joke knowingness.
The first half is dull... the second half is sparked mainly by some technically brilliant special effects.
If it's too clever for its own good, the movie is also full of entertaining ideas and special effects, and a lunatic wit seems to bubble up every time there's a lull in the action.
An engaging mixture of no-nonsense lycanthropy and movie brat knowingness.
Director Joe Dante wisely knows how to balance explicit shock value with a self-mocking humor.
Rob Bottin's special make-up effects may deserve extended study, but the movie shouldn't stop dead in its lycanthropic tracks while a man turns oh-so-slowly into a werewolf -- twice.
The Howling doesn't sustain the good, trashy erotic bravura of its best scenes -- it becomes just another fur-brained horror film.
The special effects are a creative explosion of hair and rubber.
It's all supposed to be too frightening for words, but between the eclectic, fizzling score by Pino Donaggio and the technically impressive but more horrid than horrifying make-up tricks of Rob Bottin, snickers are more in order than shivers.
For me, what starts off as a goodish thriller ends up a bad case of bats in the belfry. Joe Dante's Inferno, in fact.
Its sense of the ridiculous is complemented by a few relatively bloodless jolts and astounding special effects that billow and distort human bodies into the most horrifying werewolves you've ever seen.