An American Werewolf in London

The film’s indisputable centerpiece is the protracted werewolf transformation sequence. Read full review

This movie presented a radical melange of genuine horror and self-aware comic touches, not to mention the fabulous Rick Baker special effects. Read full review

Although AWIL's comedy/horror elements aren't always cosy bedfellows, the film retains its original, quirky charm. Great effects for the day, too. Read full review

A clever mixture of comedy and horror which succeeds in being both funny and scary, An American Werewolf in London possesses an overriding eagerness to please that prevents it from becoming off-putting, and special effects freaks get more than their money's worth. Read full review

Carnivorous lunar activities rarely come any more entertaining than this. Read full review

While Rick Baker's special effects work is remarkable (and won the first competitive Oscar for makeup), Landis seems content to simply showcase it, shooting it in close-ups and bright lighting without any attempt to build any emotion into the sequence. Read full review

The transformation sequences on their own are disturbing enough to upset sensitive viewers (even though the first one doesn't occur until an hour into the 97 minute film, making the first two-thirds of the movie relatively tame, with the exception of a few appearances by Jack, who looks like a "walking meatloaf"). Read full review

When the movie backfires, which it finally does, it's because too much grisly footage has been used too lightly. Mr. Landis's comic detachment, which has been fascinating throughout much of the movie, is something he holds on to even when a deeper response is needed. Eventually it becomes less comic than callow. Read full review

In the cold light of day, it must be admitted that Landis leans too heavily on the shock effects provided by Rick Baker's lycanthropic transformation make-up. Read full review

For me, it tends to be a recipe in which you can't taste either of the constituent ingredients. The big man-to-wolf transformation scene is still a marvel. Read full review

Seems curiously unfinished, as if director John Landis spent all his energy on spectacular set pieces and then didn't want to bother with things like transitions, character development, or an ending. Read full review

Gratuitous gore prevents this monstrous movie from becoming the competent comedy it might have been. [21 Aug 1981, p.17]

This is state-of-the-art stuff, and clearly Landis is as proud of it as those kid prodigies who build computers out of Q-Tips. Landis also out-palms Brian De Palma, not only giving you nightmares about massacres but double nightmares that go on to meta-massacres just when you think they're over. But despite all of this super-sophistication the movie is finally just as silly as the old horror pictures it ambiguously kids. There's nothing like a rotting, wisecracking corpse to embody the bubble-gum nihilism of the Wise-Guy Wave. [7 Sept 1981, p.82]

John Landis must have entertained greater aspirations for his new movie, "An American Werewolf in London," than the dismaying results he's stuck with -- a wasted clever title and a minor fiasco destined for an obscure niche in the scrapheap of horror movies. Read full review

It's a failure, less because the odd stylistic mix doesn't take (it does from time to time, and to striking effect) than because Landis hasn't bothered to put his story into any kind of satisfying shape. Read full review