6.5 | / 10 |
Users | 0.0 | |
Reviewer | 2.5 | |
Overall | 2.5 |
A woman has dreams that she is a werewolf so she goes out and finds men. She proceeds to have sex with them and then rip their throats out with her teeth. She eventually falls in love but then she is raped and her lover is murdered so she goes out for revenge.
Starring: Annik Borel, Frederick Stafford, Howard Ross, Dagmar Lassander, Tino CarraroHorror | 100% |
Foreign | 43% |
Video codec: VC-1
Video resolution: 1080p
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
Italian: LPCM 2.0
English: LPCM 2.0
English
25GB Blu-ray Disc
Single disc (1 BD)
Slipcover in original pressing
Region free
Movie | 2.5 | |
Video | 3.0 | |
Audio | 3.0 | |
Extras | 2.0 | |
Overall | 2.5 |
With a title like “Werewolf Woman,” a certain viewing experience is promised. However, this is no monster movie, despite an opening that’s exactly a monster movie. Instead of obvious thrills with a she-beast, director Rino Di Silvestro takes a turn into the dark recesses of physical and mental trauma, with abuse, rape, and deceit forming the feral aspects of the lead character. “Werewolf Woman” holds to certain grindhouse cinema highlights, but it’s a deeper picture about troublesome issues, in dire need of a filmmaker who could take it all seriously.
The VC-1 encoded image (1.85:1 aspect ratio) presentation fights for stability, with judder a common occurrence during the viewing experience. Filtering is also present, removing some texture from the image, but fine detail remains to a lesser degree, finding close-ups capturing facial particulars, and transformation make-up is certainly pauseable. Colors are satisfactory, with heavy reds on costuming and bloodshed, while skintones are natural. Some speckling is present and pockets of noise are detectable. Blacks solidify when explored in full.
The 2.0 LPCM mix is expectedly on the sludgy side, with heavy dubbing contributing to more of a blunt edge on dialogue exchanges, with periodic surges into shrillness. Emotions read as intended, finding hysterics common. Synth-based scoring efforts hold their electro origin, offering a secure sound that brings mood to the movie, supporting the on-screen antics. Atmospherics with gathered crowds and interior creep are adequate.
"Werewolf Woman" has the idea but never the execution, taking a potentially provocative understanding of gender and sexual fear into areas where ugliness is encouraged, not reflection. Di Silvestro wants to cause a ruckus and transform the work into a think piece on the nature of suffering, but he also wants his camera to linger on shots of pubic hair, rape, and gore. It's difficult to have it both ways, and while "Werewolf Woman" is about duality, it's doesn't necessarily achieve a sense of understanding with either argument.
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