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Beaverfield, a small town in Pennsylvania, is in a state of emergency. An oil tycoon named Sam Parker (Wayne Duvall) is attempting to have a pipeline built through the town, and he appears to take pleasure in the way his proposal has divided the citizens. In “Werewolves Within,” Josh Ruben’s playful horror-comedy about being a good neighbor, a werewolf enters the picture to, of course, clean up the mess.
Comes in Sam Richardson’s incredibly nice Ranger Finn, who drives into Beaverfield while listening to instructional tapes on how to be a man, almost as though he’s trying to learn song lyrics. Assigned to supervise the pipeline’s construction, he quickly learns about the town’s secrets and drama, thanks to the assistance of a bubbly mailwoman named Cecily (Milana Vayntrub), who helps him become acquainted with the town’s dysfunctional atmosphere. The script by Mishna Wolff (adapted from a Ubisoft virtual reality game) pokes fun at contemporary political tensions by using the pipeline as a de facto divide between progressive and conservative mindsets in order to set up this world. Emerson Flint (Glenn Fleshler), an imposing and gruff man who everyone suspects as soon as the word “werewolf” is mentioned, lives out in the woods with his guns, far away from the rest of the world’s chaos. It’s up to Finn to keep everyone from killing each other while a scientific expert Dr. Ellis (Rebecca Henderson) determines whether or not there’s a werewolf in town when corpses begin to appear and a snowstorm traps a select few people in town during a snowstorm.
Ruben previously made a name for himself with the micro-budget horror film “Scare Me,” and he proves once more that he has an ear for the perfect pitch with the line “it was a dark and stormy night.” Edgar Wright’s films, particularly “Hot Fuzz,” are clearly an influence, and Ruben employs some of Wright’s sharpest tools for instant, economical world-building: playful soundtrack choices (such as the soda pop ditties that introduce us to Beaverton, juxtaposed with Anna Drubich’s straight-up horror strings); whooshes in the sound design that ramp up one scene to a sudden cut; characters who suddenly pop into the camera’s frame for comedic effect. All of these elements slightly elevate the world of “Werewolves Within,” so that when everyone is stuck inside a hotel (owned by Catherine Curtin’s Jeanine, whose husband is werewolf food in the beginning), it’s unmistakable what kind of horror this is. That is, a goofy and skilled one, with a great deal of charisma across the board to help it get by with its flaws.
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One of the pleasures of watching “Werewolves Within” is not only witnessing all of this talent easily vault over the low bar of creating the best video game adaptation to date, but also basking in the wonderful on-screen energy that is present. During the first few minutes of the film, Richardson and Vayntrub are a special grade of adorable, dancing around each other like high schoolers and sharing a scene in an empty axe throwing bar that is jam-packed with wholesome sexual tension, Walden references, and ’90s songs, all before dopey Finn proves that he is still in love with his ex-girlfriend. They maintain their chutzpah throughout the film’s quaintly progressive ideas, such as how Finn’s overall arc demonstrates the ineffectiveness of being told to “man up,” or how Cecily has a great deal of agency while only reading like a fantasy to Finn, which is a nice touch. Both bring a finite sincerity to characters whose sweetness is ebullient, rather than cloying, in their expressions of affection. If there is any justice in this hellish business, Richardson and Vayntrub will become the go-to leads for even bigger projects as a result of their work on this film.
Werewolves Within Quiz
For the rest of its cast, “Werewolves Within” chooses cartoonish characters who attempt to pass themselves off as real people in the process (instead of vice versa). The movie’s larger, more grounded point about being a good neighbor isn’t helped much by this choice, but it allows such animated actors to have a good time with characters who play out like broad parodies. As Trisha and Pete, Michaela Watkins and Michael Chernus portray a conservative couple who cries “Antifa” and coos over her dog Cha-Chi, while he is a legendary creep with buried tales of adultery to prove it. Michaela Watkins and Michael Chernus are both excellent in this film. Next there are Harvey Guillén’s Joaquim and Cheyenne Jackson’s Devon, two married millionaires who own a yoga studio, both of whom are adamantly opposed to the pipeline. For me, the scene-stealers are Gwen (Sarah Burns) and Marcus (George Basil), a pair of horny mechanics who constantly gas each other up to the amusement of the rest of the audience. The unabashed tropes of these couples (the conservative couple, the gay couple, the white trash couple, etc.) are all familiar, but it’s fascinating to see how everyone fills in the blanks with their own interpretations.
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The characters are given vibrant representations all over the place, and the overall setting is irresistible. The Beast Must Die (1974) is a badass, more straightforward ensemble werewolf whodunit that is all about the guessing game, so it’s exciting to see a sense of humor mixed in with it. However, as you progress from one amusing scene to the next, you’ll notice that something is preventing “Werewolves Within” from achieving full flight into space. In this case, it’s the werewolf problem, which the script attempts to legitimize through accusations and plot twists, while limiting its comedic dialogue to amusing but throwaway lines that characters appear to say under their breath in between scenes. Though the tension between its secretive characters grows and grows, culminating in a zany slaughter that includes some shrewd in-camera gags, the comedy does not progress in the same way. “Werewolves Within” is a lighthearted film with a strong sense of silliness, but it leaves you with fewer mementos and memorable lines than you might expect. Gwen’s exclamation “What is this, Dumbass Island?” is one of my favorite lines from the movie, perhaps because she says it so forcefully, but I had completely forgotten about it until I watched it for the third time. We could have had a slew of more if the script had been even more outlandish, especially given how enthusiastic the cast appears to be.
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It appears to be a deliberate choice that some of the film’s weakest moments feature the entire cast in the same shot. As they gather in the vicinity of Jeanine’s hotel, everyone is compressed into a static frame, competing for our attention while the mystery of whodunit looms above their heads. Because the foreground and background of certain shots are filled with dialogue and the dialogue bounces back and forth, you may miss the full impact of a main joke because this visual approach does not always guide your eye when it needs to do so. When Ruben fails to achieve his desired tone, it detracts from his otherwise impressive juggling act, which includes some shocking violence as well as cutting back and forth between all of these personal beefs and the ruling goal to keep it fast-paced.
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The fact that Ruben is a fantastic party host was demonstrated in “Scare Me,” where he only had three characters and the majority of their activities consisted of telling spooky stories around a fireplace. With his long list of future household names, he is able to let loose with many of the goofy, creepy impulses that have made him such an appreciated voice in crowd-pleasing horror, resulting in a giddy spirit among the audience. A blood-gushing tale that would make Mr. Rogers proud, and one that culminates in a main character screaming at the top of their lungs, “IT’S OK TO BE NICE.” Consider this an endorsement not only of “Werewolves Within,” but also of the goodwill that is clearly behind the film and its production.
The film is currently playing in theaters and will be available for rental everywhere on July 2.
For more personality quizzes check this: Chal Mera Putt 3 Quiz.
