After a bizarre and near fatal encounter with a serial killer, a newswoman is sent to a rehabilitation center whose inhabitants may not be what they seem.

Credits: TheMovieDb.

Film Cast:

• Karen White: Dee Wallace
• Dr. George Waggner: Patrick Macnee
• Chris: Dennis Dugan
• R. William ‘Bill’ Neill: Christopher Stone
• Terry Fisher: Belinda Balaski
• Fred Francis: Kevin McCarthy
• Erle Kenton: John Carradine
• Sam Newfield: Slim Pickens
• Marsha Quist: Elisabeth Brooks
• Eddie Quist: Robert Picardo
• Donna: Margie Impert
• Charlie Barton: Noble Willingham
• Jerry Warren: James Murtaugh
• Lew Landers: Jim McKrell
• Shantz: Meshach Taylor
• Porn Store Patron (uncredited): Robert A. Burns
• Older Cop: Kenneth Tobey
• Walter Paisley – Bookstore Owner: Dick Miller
• T.C. Quist: Don McLeod
• Kline: Bill Sorrells
• Jack Molina: Ivan Saric
• Young Cop: Steve Nevil
• Hooker: Sarina C. Grant
• Man at Bar: Wendell Wright
• Porno Cashier: Herbie Braha
• Radio Man: Joe Bratcher
• Man on Street: Chico Martínez
• Liquor Cashier: Daniel Nunez
• Drunk: Michael O’Dwyer
• Man in Phone Booth (uncredited): Roger Corman
• Morgue Attendant (uncredited): John Sayles
• Gas Station Attendant (uncredited): Jonathan Kaplan
• Bookstore Customer (uncredited): Forrest J. Ackerman
• Man at End of Bar (uncredited): Michael Chapman
• Man with TV Guide (uncredited): Mick Garris

Film Crew:

• Original Music Composer: Pino Donaggio
• Executive Producer: Daniel H. Blatt
• Editor: Joe Dante
• Executive Producer: Steven A. Lane
• Screenplay: John Sayles
• Producer: Jack Conrad
• Novel: Gary Brandner
• Screenplay: Terence H. Winkless
• Director of Photography: John Hora
• Editor: Mark Goldblatt
• Producer: Michael Finnell
• Costume Design: Jack Buehler
• Casting: Judith Weiner
• Casting: Susan Arnold
• Art Direction: Robert A. Burns
• Makeup Effects Designer: Rob Bottin
• Wardrobe Supervisor: Nancy G. Fox
• Script Supervisor: Jeanne Rosenberg
• First Assistant Director: Jack Cummins
• Still Photographer: Laurel Moore
• Wigmaker: Josephine Turner
• Gaffer: John Murray
• Boom Operator: Douglas Vaughan
• Key Grip: Kurt Young
• Stunt Coordinator: Roger Creed
• Production Manager: David C. Thomas
• Property Master: Ivo Cristante
• Set Designer: Steven Legler
• First Assistant Camera: Norman Cattell
• Best Boy Electric: Roger Sassen
• Conductor: Natale Massara
• Assistant Makeup Artist: Bill Davis
• Makeup & Hair: Gigi Williams
• Visual Effects: David Allen
• Visual Effects: Peter Kuran
• Special Effects: Roger George
• Special Effects Makeup Artist: Rick Baker
• Special Effects Makeup Artist: Greg Cannom
• Special Effects Makeup Artist: Joe Beserra
• Special Effects Makeup Artist: Margaret Prentice
• Utility Stunts: Conrad E. Palmisano

Movie Reviews:

• John Chard: A secret society exists, and is living among all of us. They are neither people nor animals, but something in-between.
• In the name of good television, newswoman Karen White (Dee Wallace) forms a bond with serial killer Eddie Quist (Robert Picardo). But when the meeting of the two arrives, it nearly proves fatal and damages Karen psychologically. Her psychologist recommends that she spend some time with her husband out at a remote convalescence resort, but once there it appears all is not as it seems.
• A truly great Werewolf movie, one of the best in fact, The Howling – in some eyes – has lost some of its bite over the years due to countless sequels and imitators, but its importance never dims. It often gets forgotten that The Howling changed the werewolf DNA for the better, it invented its own hairy beast as it were, refusing to copy past treasures from the olde classic era. But director Joe Dante shows the utmost respect to those who had previously eaten at the Lycan table, naming many of the characters in his film after directors of Werewolf movies. Nice.
• Another thing forgotten, due in no part to the release of An American Werewolf in London later in the year, is that Dante’s movie often has tongue in bloody cheek. It is happy to be a parody of the sub-genre of horror it loves, while some of the comedy visuals are deliciously and knowingly dry. But this is a horror film after all, and it so delivers in spades the frights and nervous tremors, even sexing things up as well. These Werewolves are completely bestial, and in human form enjoy having their secret other halves. This is just a colony at the moment but domination of all humans is most definitely appealing and on the agenda.
• Horror fans will sometimes stumble across a debate about effects wizards Rob Bottin and Rick Baker, who is best? It really doesn’t matter, both are geniuses of their craft. Bottin is in the chair here, while Baker served as a consultant before doing his thing on An American Werewolf in London. The transformation sequences are superb and still hold up today as brilliant craft work, no CGI cheap tactics here. No sir. The Howling is scary, sexy and funny, and knowing Dante – maybe even political. A joyous Werewolf film whose impact on horror should always be respected. 9/10
• CinemaSerf: “Karen” (Dee Wallace) is an investigative reporter with a local television channel who is focussed on a local serial killer. When the police corner and kill this man, it has a curiously profound effect on the woman and she loses her memory. Needing a change of scenery, she heads to the remote “Colony” where rest and recuperation are the order of the day. Initially welcoming her, though, she soon becomes suspicious that all is not right with her colleagues and the nocturnal activities in the surrounding forest seem to only make matters worse for our increasingly paranoid (and tired) heroine. Venturing into the woods might offer her the only opportunity to finally put her fears to bed – but there is a risk, and that risk might still involve the man she knows to be already dead! The story here is quite good – and the audio effects department do well to develop and sustain quite a decent sense of menace as “Karen” finds herself in her new, remote and creepy, home. The acting, though – well Wallace just isn’t very good, nor is “Avengers” regular, and not terribly versatile, Patrick Macnee who comes across very much as a fish out of water as the supernatural elements take over and the quality of the film falls away. The use of dialogue in the latter part of the film is sparing, and that is more effective as the darkness, shadowing and Pino Donaggio score do engender some sense of peril but I just wanted a better, more engaged, cast. Worth a watch, though – it does keep you guessing for a while.
• The Movie Mob: **The Howling was groundbreaking for its time but isn’t the timeless classic I hoped it would be.**
• The Howling is a definitive werewolf horror film that introduced new ideas to the genre and broke new ground for special effects. The hidden secret werewolf community with opposing ideologies and opinions on how to either hunt or hide from humanity brought more to werewolf lore than a simple crazed monster. The Howling was also the first English-speaking movie to showcase female werewolves. Joe Dante pushed the limits with this film and positioned himself to become the director of Gremlins because of its success, but The Howling is dated and not at all scary by today’s standards. There is unnecessary nudity, terrible acting, and slow pacing that hold The Howling back from being a personal horror classic and keep it from being a movie I recommend.