Directed by Amelia Moses
Written by Wendy Hill-Tout, Lowell
Starring Lauren Beatty, Greg Bryk, Katharine King So
Runtime: 1 hour 24 minutes
In theaters and on demand April 23

by Nikk Nelson, Cinematic Maniac, Staff Writer

Maybe I’ve seen too many werewolf movies. I want to give Bloodthirsty (2020) as much benefit of the doubt as I can because I know I’ve seen too many werewolf movies. So, when I say this film is like pretty much every other werewolf movie I’ve ever seen, understand that I’ve seen just about every werewolf movie ever made. I think this film definitely has an audience but I’m certain it isn’t me. However, that didn’t stop me from enjoying several aspects of the experience.

I’ll address what I found to be generic first: Protagonist and Girlfriend <protagonist nightmares> <creepy house> <creepy housekeeper><dark/mysterious/haunted/disheveled man> <protagonist --- eerie connection to haunted disheveled man> Girlfriend: “Something is happening to you. We need to get out of here!” <jealousy> <protagonist nightmares get worse> Disheveled Man: “You’re special, protagonist. Your girlfriend can’t understand that. We’re different than everyone else...” <werewolves ensue>. At this point, as far as werewolf movies go, I need something really off the goddamn wall to honestly engage me. Again, that’s my problem. 

The twist in this film is by far its greatest attribute. The protagonist, Grey, is a burgeoning popstar, and Haunted Disheveled Man, Vaughn, is a record producer. A lot of the music in the film was provided courtesy of real-life popstar Lowell, who also co-wrote the script. I had not to this point heard any of Lowell’s music and I found it to be the highlight of the film, especially songs like “God is a Fascist”. I can dig that. Everyone plays their parts well, especially Greg Bryk as Vaughn, who really nails Haunted Disheveled Man. The hallmark of every werewolf movie is the makeup effects and artist Ashly Mckessock does not disappoint. The obligatory transformation scene, for example, is very technically satisfying. I also think, given where that scene takes place, and overall how the script is written, Lowell is perhaps expressing some personal feelings about the cannibalistic nature of the music industry. However, once again, I am fatigued by this routine. Do we really need these long, drawn out transformation sequences in werewolf movies anymore? 

Overall, if you are way younger than me, a fan of Lowell’s music, and a fan of horror, then you’ll love this one. If you’re like me: older, crotchety, and cinematically bitter because you’ve lived to see everything done and done again and rebooted and re-rebooted and then the second re-reboot rehashed into a reimagining—you won’t find a lot here other than a kickass score, some great original music, and one or two surprising moments that more than make up for some glaring plot holes. It’s solidly directed, acted, and executed. I am now officially a fan of Lowell’s music and I hope they keep interested in producing projects like this. Not enough musicians realize they can make movies too. 

--For any whippersnappers out there who’d like more werewolf, I recommend checking out Wolfen (1981) and The Wolf of Snow Hollow (2020)--