Ranking the Howling Franchise: Werewolf Horror from Moonlit Masterpiece to Mangy Mess
The werewolf has long prowled the shadowed corners of horror cinema, a symbol of primal fury and uncontrollable transformation that taps into our deepest fears of the beast within. From Universal’s snarling Wolf Man to modern indies like Ginger Snaps, few subgenres evoke such visceral thrills. Yet amid this lupine legacy stands the Howling franchise, a gloriously uneven series that kicked off in 1981 and spawned seven films over fifteen years. Launched with Joe Dante’s seminal original, it blended practical effects wizardry, sly satire and graphic gore to redefine werewolf cinema at the dawn of the home video era.
What elevates the Howling series above mere monster mash-ups is its audacious evolution: from psychological chills and Hollywood in-jokes to campy cults, quirky outliers and straight-to-video slogs. Ranking them demands balancing innovation against execution, scares versus schlock, and cultural bite with outright barks. My criteria prioritise narrative coherence, transformative effects (courtesy of Rob Bottin’s groundbreaking work in the first), thematic depth on lycanthropy as metaphor, rewatchability and sheer entertainment value. Influence on the subgenre weighs heavily too—did it howl loud enough to echo through horror history? From peak to pitiable, here’s the definitive countdown of the entire pack.
Prepare for fangs, fur and a few full moons of folly. These films capture the franchise’s wild spirit: a howl that starts as a thunderous roar and fades to whimpers, yet remains essential viewing for werewolf aficionados.
-
The Howling (1981)
At the pinnacle sits Joe Dante’s original, a lupine landmark that skewers self-help culture while unleashing some of the most harrowing transformations ever committed to celluloid. Television reporter Karen White (Dee Wallace) survives a traumatic encounter with serial killer Eddie Quist (Robert Picardo), only to retreat to the coastal commune of ‘The Colony’ for therapy. What unfolds is a masterclass in building dread, as Dante layers Freudian undertones with nods to Invasion of the Body Snatchers and American Werewolf in London, all capped by Rob Bottin’s Oscar-nominated effects—those melting, elongating bodies remain nightmarish decades on.
Dante, fresh off Piranha, infuses biting satire: the Colony’s residents are a thinly veiled send-up of Esalen Institute excesses, with werewolves as metaphors for repressed urges bursting forth. Wallace’s raw vulnerability anchors the horror, while supporting turns from Patrick Macnee and Slim Pickens add eccentric flair. Critically adored (Roger Ebert praised its ‘special effects fireworks’[1]), it grossed over $17 million on a $6.5 million budget, spawning the series and influencing films from The Faculty to Ginger Snaps. No other entry matches its polish, scares or subversion—pure alpha wolf perfection.
-
Howling II: Your Sister Is a Werewolf (1985)
Philippe Mora’s sequel dives headlong into camp, trading subtlety for saucy excess and emerging as the franchise’s guilty pleasure crown jewel. Jeri Lynn Ryan (Sybil Danning in glorious overdrive) hunts her late sister’s lycanthropic killers, teaming with Kestrel (Christopher Lee) across Europe. Expect gratuitous nudity, heavy metal vibes and Christopher Lee hamming it up as a vampire-hunting priest—it’s werewolf cinema on acid, complete with a climax atop a snowy peak that devolves into furry fornication.
Mora, who helmed Communion, amps the absurdity with Reb Beach’s guitar riffs and Annie McEnroe’s fiery lead, while Danning’s dominatrix werewolf steals every frame. Effects are serviceable, but the joy lies in unapologetic pulp: it nods to Hammer horrors while prefiguring From Dusk Till Dawn‘s tonal shifts. Box office modest, yet VHS cult status endures; Lee later called it ‘fun rubbish’[2]. For rewatchable romp over rigour, it nips at the original’s heels.
Its legacy? A blueprint for tongue-in-cheek lycans, proving werewolves need not skulk in gloom—they can strut, seduce and shred with style.
-
Howling III: The Marsupials (1987)
Phar Lap meets full moon in Mora’s third outing, a bizarre Aussie import that’s the series’ quirkiest gem. In the outback town of Flow, marsupial werewolves—pouched, poufy-furred beasties—face extinction amid Cold War paranoia. Anthropologist Barry McLeane (John Carradine in his final role) documents the clan, led by shape-shifting Thylo (Leigh Purdey), as Soviet spies and tabloid frenzy encroach.
What could be gimmicky soars through deadpan humour and heartfelt pathos: these ‘humanimals’ evoke indigenous plight metaphors, with practical suits by Steve LaPorte evoking E.T.‘s charm amid gore. Carradine’s gravitas elevates the eccentricity, while Imogen Annesley’s Jerboa dances ballet in wolf form—a surreal highlight. Critically overlooked yet fan-favourite for its Rocky Horror whimsy, it expands werewolf lore innovatively. Third place for bold originality that bites deeper than it barks.
-
Howling IV: The Original Nightmare (1988)
Returning to roots, John Hough’s prequel unearths the Quist family curse in 1945 Romania. Marie (Romy Windsor) aids Elise (Susan Pugatch), a pregnant werewolf tormented by visions, as Nazi occultists lurk. Atmospheric black-and-white flashbacks ground the mythos, with Michael T. Weiss as the haunted Jankel.
Hough (Legend of Hell House) crafts moody restraint, prioritising psychological strain over splatter—transformations are tense, implied more than indulged. Dimiter Marinov’s effects impress modestly, while the script ties neatly to the original. Low-budget charm shines in Draven, South Africa’s standing sets, fostering intimacy absent in later entries. Solid mid-tier for lore-building and shivers sans schlock.
Trivia: Intended as a miniseries pilot, its standalone success underscores the franchise’s enduring pull.
-
Howling V: The Rebirth (1989)
Neal Sundstrom’s Gothic pivot transplants the curse to post-WWII Hungary’s Castle Borski, where a diverse group (including Eternal’s Philip Davis) uncovers werewolf hunters among them. Trap-filled dungeons and medieval lore dominate, with transformation triggers tied to silver and lunar cycles.
Sundstrom leans into Hammer-esque aesthetics—cobwebs, candelabras, continental cast (Elizabeth Shé as seductive Jolene)—yielding elegant unease. Effects by The Animatronic Workshop are creative (one victim morphs mid-coitus), though pacing lags. It innovates with ‘werewolf court’ rituals, echoing The Name of the Rose. Respectable fifth for atmospheric allure, despite narrative knots.
-
Howling VI: The Freaks (1990)
Circus sideshows host werewolf woes in Hope Perello’s entry, starring Brendan Hughes as carnie Jack and Michelle Matheson as sword-swallower Deborah. A fire reveals lupine freaks, sparking revenge against sleazy producer Richard Lewis.
Perello amps empathy for outcasts, with effects nodding to Freaks (1932)—prosthetics blend horror and humanity. Sean Gregory Sullivan’s Elijah steals scenes as a feral man-beast. Fun ensemble and carny grit buoy it, but formulaic plotting and dim visuals drag. Penultimate for heart amid the howl.
-
Howling VII: New Moon Rising (1995)
Bottom of the barrel: Clive Turner’s direct-to-video dud pits journalists (Jane Davenport, John Ramsden) against werewolf mayor Red (Trevor Thomas) in small-town America. Muddy plot twists abound, from vampire rivals to biblical curses.
Effects are amateurish (rubber suits, poor CGI precursors), acting wooden, direction listless. It apes Twin Peaks sans Lynch’s genius, squandering potential. Only curiosity value as franchise capper. A whimpering whelp.
Conclusion
The Howling franchise mirrors the werewolf itself: a thrilling metamorphosis from Dante’s diamond to diminishing returns, yet packed with pack-worthy moments. The original redefined the beast, while sequels explored every lupine lane—from camp to compassion—proving the subgenre’s boundless bite. In an era of reboots, revisiting these howls reminds us horror thrives on transformation, flaws and all. Which entry makes your fur stand on end? The full moon calls—time to binge.
References
- Ebert, R. (1981). ‘The Howling’ review. Chicago Sun-Times.
- Lee, C. (1997). Interview in Fangoria #162.
Got thoughts? Drop them below!
For more articles visit us at https://dyerbolical.com.
Join the discussion on X at
https://x.com/dyerbolicaldb
https://x.com/retromoviesdb
https://x.com/ashyslasheedb
Follow all our pages via our X list at
https://x.com/i/lists/1645435624403468289