I know that it’s full moon and
that I said the next time I would post would be this month’s Werewolf Movie
Review, but I simply didn’t finish it in time, for which I am sorry. Instead,
while I continue working on the review, I thought I’d post something shorter. I
apologise in for posting something that’s already been posted, in a way, on
Werewolf Theory, but here’s why I’ve decided to do it: the paragraphs
pertaining to the symbolism of the pentagram and how it may be related to
werewolves were originally a part of the September 2015 review of 1941’s The Wolf Man. Because they were quite
far into the review, and because there is no mention of its inclusion in the
review’s title or description (since it came about as a side-effect of my
analysis of the movie), not everyone looking for this particular subject would
be able to find it. So I decided to make a separate post consisting of those
couple paragraphs, expanded by additional examples of the use of pentagrams in
relation with werewolves that would not fit into The Wolf Man review for obvious reasons. I guess this post could be
treated as a filler by those who’ve already read my analysis and review of the
mentioned movie. For those who haven’t, I encourage you to take a look at the
complete review to which a link you can find in the menu on the right in the
‘Cinema & TV’ section :) And to those who’ve stumbled onto my humble
doorstep looking for an article on pentagrams and werewolves I say: enjoy!
* * *
To many members of the older
generation (especially overly concerned parents of teenagers, it seems – and
I’m talking from personal experience here), the pentagram is a sign of the
devil. However, the whole business is trickier than that, which many people
don’t realise. The symbolism of the pentagram in Western culture depends on its
orientation. And so, there are two pentagrams: one whose meaning is good, and
the other, whose meaning is more sinister.
The one which represents positive
qualities is the one where a single point is projecting upwards, so the standard
type of a pentagram, which we most commonly see when we hear the word
‘pentagram’. This pentagram is sometimes called the Pythagorean pentagram and
in ancient times it was used as a Christian symbol of the five senses or the
five wounds of Christ. During the Renaissance period, Heinrich Cornelius
Agrippa – a 15th/16th century German magician, alchemist, occult writer,
theologian, and astrologer – in his 1531 work De occulta philosophia libri tres (Three Books of Occult Philosophy) spread the popularity of the
pentagram as an occult symbol. He attributed each of the points to the five
Neoplatonic elements and inscribed the human body in a pentagram. In the 19th
century, a further distinction appeared concerning the way the pentagram is
positioned. The already mentioned Pythagorean pentagram, one with a single
point projecting upwards, was a depiction of the spirit presiding over the four
elements of matter and was symbolically ‘good’.
Then there is the ‘evil’
pentagram. The 19th century French occult author and ceremonial magician
Eliphas Levi called the pentagram ‘evil’ whenever it appeared upside down. In
his 1854 work Transcendental Magic, its
Doctrine and Ritual (Dogme et ritual
de la haute magie), he wrote:
A
reversed pentagram, with two points projecting upwards, is a symbol of evil and
attracts sinister forces because it overturns the proper order of things and
demonstrates the triumph of matter over spirit. It is the goat of lust
attacking the heavens with its horns, a sign execrated by initiates.
An overturned pentagram thus
became the symbol of the goat of Black Magic, since its head could be inscribed
into the symbol. In a later work, Levi also calls this pentagram ‘a sign of
antagonism and fatality’. A drawing of a goat’s head inscribed in an overturned
pentagram was then included in 1897 in Stanislas de Guaita’s La Clef de la Magia Noire and is known
as the ‘Samael/Lilith’ version. Later on, in 1968, a slightly redesigned
version of this pentagram, known as the Sigil of Baphomet, became a copyrighted
symbol of Anton LaVey’s Church of Satan. But this last thing is just a
curiosity, because it doesn’t pertain in any way to our current predicament.
So that is that, as they say. Now
that we know a little more about the nature of the pentagram, we can understand
a little more about why it could be regarded as a sign of the werewolf. Of
particular interest here is Levi’s interpretation that the overturned pentagram
symbolises ‘the triumph of matter over spirit’ in contrast to the proper
pentagram, which symbolises the dominance of the spirit. The duality of human
nature is a constant struggle between the spirit and the body – between what we
regard proper and good for the soul (especially in religion) and the often
primitive temptations of the body. While the Pythagorean pentagram is a symbol
of a human’s will and spirit dominating those primal instincts, the
Samael/Lilith pentagram symbolises the opposite. With werewolves, the struggle
between humanity and bestiality is magnified tenfold, for obvious reasons. A
werewolf’s efforts to dominate the beast within are an omnipresent theme in
works concerning lycanthropy. A human physically transforming into a wolf,
succumbing to the curse, becomes a symbolic surrender of spirit to matter and
the overturning of the natural order of things, just as the pentagram itself is
overturned.
Let’s now take a look at the
appearances of the pentagram in werewolf cinema. Note that this list will be
updated in time, because even I still haven’t seen all werewolf movies (shame!)
:( So I apologise for its incompletion. For now, here are three productions
that came to my mind in the first place.
The Wolf Man (1941)
In this movie, the pentagram is
an important plot point and it is probably the first time it was used in this
context. The first time it’s mentioned is when the main character, Larry
Talbot, visits an antique shop where he eventually buys his famous silver cane.
The shop owner’s daughter tells Larry that the pentagram is considered the
symbol of a werewolf, but no further explanation as to why is given. The only
reason that the movie provides is that someone who’s a werewolf will see a
pentagram in the palm of his next victim’s hand, which is shown later
on-screen. The pentagram also features on the tip of Larry’s silver cane, where
it is paired with a leaping wolf. Additionally, scars of those bitten by
werewolves are said to be star-shaped, as is the case with Bela the Gypsy and,
later, Larry himself. A slightly different use of the pentagram is made when
Larry is given a pentagram-shaped charm that’s supposed to protect him from
evil. This pentagram, however, is the upright one, as if to bring balance to
where there is a lack of thereof.
An American Werewolf in London
(1981)
In An American Werewolf in London, the pentagram appears roughly at
the beginning of the movie when our two main characters visit a pub in a small
Welsh village where they end up during their tour of Europe. The pentagram is
painted on one of the pub’s walls in red paint, with two candles hanging on
each side, and one of the characters makes a reference to The Wolf Man when they say that it’s a sign of the werewolf.
However, what the characters fail to notice is that the pentagram here is drawn upright, which actually makes it a protective charm of sorts. Why else would the owners of the inn paint it on their wall when we know that they're terrified of the moors if not to ward off evil?
Cursed (2005)
Cursed
is another movie
that makes many references to the original Wolf
Man. The pentagram’s use here is similar to the one in the 1941 classic.
After a character in the movie contracts lycanthropy, dark spots appear on the
palm of their right hand, which, if traced, create a pentagram. This is a
similar approach, if with a little twist, to the one in The Wolf Man.In one scene, one of the main characters is reading
a book about werewolves and finds an entry that describes how whoever is a werewolf
will have the mentioned marks on the palm of one of their hands. Although in
the picture presented in the book the pentagram seems to be upright, when the
character connects the dots on his own hand using a marker pen, the pentagram is clearly turned
upside down.
WolfCop (2014)
In last year’s WolfCop, the main character becomes a
victim of a demonic ritual of sacrifice, which ends up making him a werewolf. During
said ritual, an overturned pentagram is carved into his chest with a
sacrificial knife. He discovers the wound only the next morning when he tries
to shave. The pentagram here is referred to as ‘the mark of the beast’.
* * *
And that is all for now, I hope
you’ve enjoyed this short article nevertheless. In the meantime, I’m going back
to working on 2010’s The Wolfman and
I will hopefully see you again very soon. Until then!
Click here to view details about the movie,
rent, or buy it on Amazon Video.
As promised, here's a copy of my review of an old favourite of mine - An American Werewolf in London - that was first published on The Lycanthropologist's Werewolf Movie Reviews blog on October 12th 2011. Although I feel some nostalgia towards this production, I tried to nitpick as much as possible nevertheless and remain as objective as I could be. As old as this post is, I hope those of you who haven't read it before will enjoy it!
Should my analysis and review spark your interest in the movie– or should you want to view it yourself before reading this article – you can do so thanks to Amazon Video, where you can rent or buy An American Werewolf in London for your viewing pleasure. Alternatively, you can watch it for free if you sign up for the free trial of Amazon Prime. Simply click on the poster of the movie that's in this article and it will take you to the appropriate page. Thank you and enjoy!
* * *
Hello and welcome to yet another doze of shapeshifting extravaganza!
The full-moon is in the sky and so it is time for some talk about werewolf movies! I've been thinking about which movie to review as the first for a while now, but couldn't decide which one to pick from among a few good candidates. Should I start with a bad one or a good one? Should I pick one I would criticise from start to finish or not? Should my first review be epic in size or normal? Those were some of the questions I asked myself when choosing a candidate for the very beginning. I don't know if I've chosen well, but what's done is done and this month's review is:
Yes! Most of you interested in werewolf cinematography should be well familiar with this title. Since its release in 1981 it's become quite a classic and you can probably easily find it in stores even now, also on BluRay. Written and directed by John Landis, the movie was a box office success and received an Oscar in a category created specifically for this purpose during the 1981 Academy awards ceremony – Outstanding Achievement in Make-up - which exists to this day. It also won the 1981 Saturn Award for Best Horror Film, while in 2008 The Empire magazine named it as the 107th greatest movie of all time. Sixteen years later, it spawned a sequel, An American Werewolf in Paris, which, however, we’ll deal with another time.
Without further ado, here we go, so kick back and enjoy the show!
Summary
An American Werewolf in London is basically what the title says it is. Our two main characters are American students who, in the middle of their tour around Europe, find themselves in England. Once there, they are attacked by a creature that is later revealed to have been a werewolf. One of the men dies and the other survives to meet the fate of becoming a werewolf himself. After leaving hospital, he decides to stay for a while in London, where he meets the love interest of the movie. Once the full-moon comes, he transforms into a werewolf and goes on a rampage around the city until he is finally cornered and subsequently killed.
In-depth Analysis
So we start off with a view of a Scottish-looking landscape at sunset (or the break of dawn? Hard to tell at first) and Boby Vinton’s version of “Blue Moon” begins to play. Since the title werewolf is supposed to visit London, however, I’m inclined to say it’s more the landscape of England, maybe somewhere near the Lake District. The song is a peculiar touch that gives the viewer a breather from the usual spooky horror music which accompanies many other werewolf movies. It surely creates a peculiar mood as the title rolls onto the screen, followed by the cast.
A truck approaches along a deserted country road and we meet our two protagonists as they hitch a ride on a sheep wagon. Having dismounted, they already get warned by the driver to "keep off the moors, stick to the roads", but not much more is said. As they set off on foot to wherever they’re heading, I gotta say the dialogue is not of the most riveting kind, just some stereotypical male-students-on-vacation chat about girls and sex, with a couple of stupid jokes in between. The mood changes a little bit as night falls and our characters approach a small village and decide to step into the local pub for a drink and to get some rest. What they find is this:
Pretty… cool? Sick? Silly? Menacing? Surely a nice touch for those who are watching the movie, knowing that it’s a werewolf movie, but maybe not so much for the poor, unaware protagonists. One thing I’d like to know is why the hell there's a skewered wolf head (and what in the world is that weapon, a harpoon?...) on the sign when the pub’s name is The Slaughtered Lamb. I mean, shouldn’t there be a lamb there somewhere instead of a (were)wolf? Or maybe this is supposed to be an allusion to the popular saying about a ‘wolf in sheep’s clothing’, which would somehow correspond to a werewolf being a beast concealed in the shape of a man? But perhaps I’m asking too many questions than there are answers for. Oh, nice! Even the characters themselves voice their concern about there being no lamb on the sign-board a moment later! So now I have clarity… that there is none, actually *cough*.
The atmosphere of the pub is, to say the least, unwelcoming. As the two men enter, dead silence falls and everyone’s eyes become fixated on the travellers. As we learn, the pub offers not much except for beer. And, oh my god, now what do we find on one of the walls?
A pentagram! How lovely! I guess a more old-fashioned person would look at this and would probably say that ‘Oh dear, it’s the sign of the devil’, but I’m having quite different flashbacks to The Wolfman, where a similar pentagram was the sign that the main character is afflicted with the curse of werewolfism. Okay, so the reference couldn’t have been made more obvious when even one of the characters tells the other that ‘Lon Chaney Jr. (the actor who played the main role of The Wolfman – mem.) at Universal Studios maintains that’s the sign of the wolfman!’ a few moments later. Not much for me to add there, then. More signs that this movie is about werewolves, I say, more!
After Jack, the protagonist’s friend and fellow-companion, asks about the pentagram on the wall, the mood turns even more grim and the two students are forced to leave the pub because of the awkwardness that results from the locals’ unfriendliness. While the others shoo the boys away, the barmaid protests, arguing that they can’t just leave into the night, but her reasoning gets dismissed by everyone. One of the men once again warns the Americans, telling them to ‘beware the moon’ and ‘stick to the roads’. As we observe this whole scene unfold, it’s obvious that the people at the pub know about there being something out there in the moors, namely a werewolf, but they seem satisfied to stay with their pentagram and candles inside the warm pub. So let me get this straight - there’s a werewolf running around some English countryside, everyone knows about it, there’s more than a dozen strong men sitting in the pub drinking beer... and nobody cares about doing something about the whole situation and instead allow the foreigners to go out there and get killed just like that? Yeah, well, I guess we need to stick to the usual werewolf movie script, so f*** the foreigners, let’s all drink one more pint of booze and tell more jokes about the Alamo. Oh, as it turns out a bit later, the locals do feel some remorse about letting the two travellers go out on their own, but argue that they can’t let ‘their business’ be known to outsiders, even if it means sentencing the foreigners to death. Lovely folk they are, gotta say.
So night falls for good and the bright full-moon peeks out from beyond the clouds. As we might expect, our protagonists stray off the road and into the moors, singing as the rain begins to fall. Personally, I don’t know for what other reason than plot convenience would they step off the main road in a country they don’t know (and don’t seem to have any map of). Do they even know where they’re going? Since they decided to look for an inn after leaving the pub, I don’t suppose they’ll find one in the middle of the bloody fields! But they keep walking and after a while, they hear a strange howl in the distance, which reminds them they were to stick to the road. In what momentary amnesia of stupidity they didn’t notice they’re not walking on a concrete road I’ll never understand, but in the end they don’t seem to be too spooked out by all of this, or at least their acting doesn’t convey much of this kind of emotions at first. Subsequently, of course they get lost on the moors and stand face-to-face with the howling creature which they refer to as some kind of a sheep-dog (though a sheep dog like that would scare the living shit out of me, to be honest, and probably anyone who’s ever seen a sheep-dog before, too), so they try to escape from it and reach the main road again. Inevitably, their escape ends in a failure and the werewolf (as if it wasn’t obvious already) takes its chance to attack when David (the other of the two men) slips on the muddy grass.
The werewolf, which looks more like a bear than a wolf at first glance, attacks Jack first and while it’s occupied with him, David runs for his life, but hearing his friend’s desperate cries for help decides to overcome his fear and run back to help him. He’s late, however, and finds Jack already dead, lying in a pool of blood, while the werewolf attacks him now instead. During the struggle scenes we don’t get to see too much of the werewolf, but enough to have an idea what it looks like. I know I may be picky now, but notice how there’s no blood on the werewolf’s fangs even though he just ripped a man to shreds? But anyway, luckily (or not) for David, before the creature has a chance to kill him, a posse made up of the guilt-ridden locals arrives at the scene and packs a salve of shotgun bullets into its body. Before David loses consciousness, he turns his head towards where the werewolf fell and sees there a naked man all covered in blood from the gunshot wounds. Thus ends the first act of our English werewolf fairytale.
We now shift to a London hospital where David is being hospitalized. Still out cold, he calls out Jack’s name, and is the centre of interest of apparently sex-deprived nurses who wonder whether he’s Jewish or not until the doctor arrives. Apart from two deep scars on the man’s face, we don’t really know what other injuries that would cause him to be unconscious for so long he had sustained, but his state allows the transition into one of many characteristic for this movie dream sequences in which David slowly realizes he’s turning into a werewolf himself. The first one is pretty simple and innocent, showing a first-person view of the main character, as it is implied, running through a forest, seemingly on all fours. Having woken up, he learns of his friend’s death and that he was unconscious for a whole three weeks… Wait. Three weeks? THREE WEEKS after being attacked by an ‘escaped lunatic’ as they put it and having suffered no serious damage to the head? I’m sorry, but three f****** weeks seems like the beginning of a coma. Could the director of the movie really not think of any other moment in the plot to insert this handy time-skip so that we would be able to follow the protagonist’s struggle during the upcoming full moon? Even the doctor tells him he’s suffered not much more than a few cuts and bruises and lost a little blood and that nothing’s wrong with him. If you ask me, I’d say that lying in bed unconscious for three weeks with such “injuries” means there’s something really wrong with him. The writing.
So after a visit to the hospital by two officials from Scotland Yard (one of whom seems to be a failed attempt of a comedy relief) when David is informed that according to witnesses him and his friend were attacked by a madman and that his testimony of it being otherwise is not credible, thus making the case closed, we cut to yet another dream sequence in which we see a naked David running through a forest. Everything would be fine and dandy if it weren’t for this little bit:
where he attacks a doe, rips it apart with his bare hands apparently, and takes a juicy bite out of its leg. Nom nom nom. After that, as if nothing ever happened, we move on to establish that the nurse taking care of David is the movie’s love interest. Only for a short while though, as another dream sequence follows in which David is running through the forest (AGAIN), this time fully dressed (progress, first it was just a camera, then we saw him naked, now he’s dressed, what next? He’s gonna ride through the forest on a bike?). As he does so, he notices a bed in the middle of the forest in which he himself lies and sees himself turning into a bit more monstrous version of himself as he’s approached by the said nurse.
When David decides to inform his doctor about the nightmares he is having, we can see he’s got more scars in the shape of claw marks on his chest as he tries to convince the doctor that he and Jack were attacked by an animal, not a man.
Oh right, the conversation going on between the two reminded me of something. Explain to me this: if the two Americans were travelling through Northern England, how the hell did David end up as far away from that as LONDON? Are there no hospitals in Northern England?! If he had suffered a serious injury which would require a specialist to operate on him, maybe there would be some justification for bringing him all the way down to London. But since we already know that’s not the case, WHY THE HELL DID YOU DRAG THE GUY SO FAR AWAY TO PUT HIM IN A HOSPITAL? I took the liberty of digging into the matter a little more and what I found got me a bit confused. Namely, first of all the town East Proctor is a fictional name created for the purposes of the movie, but its model was the village of Crickadarn near Wales’ eastern border with England. Now, since the signpost at the beginning of the movie shows the fictional East Proctor in the same direction as the Welsh town of Erwood, I decided to assume that’s the general area where our two main characters were during the werewolf attack.
So how this is supposed to be Northern England, I have no idea, but besides that what in the world made you guys think it was a good idea to transport a man with light injuries all the way from near the Welsh border 380 kilometers east to London (and that’s in a straight line) when you could have reached a city of a population of over a million people (there MUST be at least one hospital for such a place, right?) by covering as little as 90 kilometres? (Taking into consideration only bigger cities, of course.) I DEMAND SENSE. NOT PLOT CONVENIENCE BECAUSE YOUR MOVIE HAS “IN LONDON” IN ITS TITLE.
*facepalm and a few moments of silence*
So after a little more chit-chat we get to see another dream that David is having and I must admit that when I was watching the American Werewolf for the first time this scene was the biggest “what the f***” of the whole movie and I’d say it still holds up to that position. What we get to see this time is a family, a member of whose David appears to be, watching TV and going about its usual business on a free evening, when suddenly they are attacked by Nazi werewolf-soldiers with machine guns. Yes. Exactly what you read and even though maybe they’re not Nazi cause I didn’t see any marks on their uniforms, that’s still what first comes to mind. Like, seriously, what the hell...
Almost like Lon Chaney Jr., eh? Well anyway, realizing what is happening to him, David apologises to Jack and calls out for help, but none comes. Fully transformed, a spitting image of the previous werewolf, David escapes the house to hunt around London. It’s not explained how he manages to get out of the house, but let’s lay it on the werewolf’s intelligence that he maybe opened the window or the front door. I just don’t feel like being picky right now given the shape of the werewolf’s paws. As for a few words about the werewolf itself, it’s obvious that the creators intended to create a human-wolf hybrid, but put it on all fours, unlike what the tendency is at present. The werewolf’s body is long and log-like, so to say, its legs, being transformed human limbs, are long and the hind legs need to be bent while the front ones remain outstretched. Though apparently fast, the creature moves in the fashion of a human trying to run on all fours, which is an interesting approach that signifies a tighter bond between a man’s body build and what would come out of its alteration into an animal-hybrid, so to say. The large mane on the werewolf’s head and back is a bit of an exaggeration in my opinion and makes it look a little clumsy, especially when viewed from the front – the legs then appear terribly short and fragile for the barrel-like rib-cage and torso which appear heavy. The ears could be a little more visible too since they get easily lost in the big mane. But now I guess I’m just starting to get picky. Anyway, the werewolf model in this movie is a lot better than in many other movies that preceded it, it’s ‘physical’ (non-CGI), so a lot harder to animate, which acts in its favour in spite of some other visual shortcomings. Now back to the plot.
I allowed myself to increase the contrast quite a bit so you could see the details of the werewolf's face.
As a werewolf David goes on a killing spree and kills a couple in a park, while the doctor tries to find clues as to his whereabouts, apparently convinced that what he heard in East Proctor is the truth. As David is running around various areas of London killing people, the doctor explains to the nurse what he saw during his visit in East Proctor and suspects that having suffered a severe trauma after the attack David may think of himself as a werewolf and because of that may hurt himself or others, not necessarily literally changing into a wolf. The doctor also voices his concerns about the case whose files have disappeared and about David’s wounds being “dressed and clean” even before he got to the hospital. Concerned about David’s safety, they decide to call the police after nobody picks up the phone at the nurse’s house. The scenes of the numerous killings are not too revealing, so don’t expect to see a lot of werewolf action in them. I guess the best you’ll get for the time being is this scene in the Tube:
This however gives us a general idea of the size of the creature and the way it moves on all-fours. When the night is through, David wakes up in the zoo, in the same cage as two wolves who seem to treat him with curiosity rather than hostility. It must have been extremely early for him to not be found by the staff to be honest >.> As he makes his escape and is on the way home, the newspapers are already booming about last night’s murders. When he gets back, he comments that he’s never felt so good before and that his body is overflowing with energy. On the cab to the hospital where the doctor wants to take another look at him David learns of the murders and snaps, realizing that it’s him who committed them. He tries to get arrested by the police, but in vain. As if suspecting his nearing demise, David calls home to say goodbye and following his deceased friend’s words tries to take his life by cutting his wrists but in the end is unable to do so. Shortly after he leaves the phone booth he sees Jack again. They meet at a cinema and talk about what happened. This time, however along with Jack, David is confronted by all his (ketchup-covered) victims from the previous night who all unanimously tell him that he must die in order for them to be set free from limbo. The second night of the full moon falls and David begins to change again, this time in the cinema where he saw Jack.
By the power of increased contrast and brightness, I bring to thee the whole gory splendour of this scene.
Panic erupts as he begins killing people inside it and soon the police arrive as we approach the movie’s finale. Werewolf-David manages to escape from the cinema and runs rampant through Piccadilly Circus while the police are at a loose end as to what to do with him.
The ending scenes of the movie are the most revealing about our werewolf, as you can see. While David is wreaking havoc in Piccadilly Circus, the doctor and the nurse learn of the confusion that is going on there and immediately suspect it to be David, so they take a cab and hurry to the site. Once there, they find the werewolf cut off in a dead-end alley with the cavalry pointing their guns at him while he’s curled up against the wall. The nurse somehow manages to get through the crowd and approaches the creature, trying to get through to whatever was left of its humanity. For a moment it seems that the werewolf understands her words, but then suddenly leaps at her and immediately gets shot to death by the cavalry before he can harm her. Subsequently, instead of the werewolf creature they find the naked body of David. Credits follow without further plot to the sounds of a this time upbeat version of “Blue Moon” by The Marcels.
Impressions & Evaluation Overall, one can’t call The American Werewolf in London a bad werewolf movie. It has its flaws and is a stereotypical story about someone becoming a werewolf, killing people and then meeting his demise, but somehow it also has its own specific charm that many werewolf movies of the present day lack. I raise my top-hat to the make-up team for creating a one-of-a-kind werewolf experience and also to the numerous The Wolfman allusions and a soundtrack full of songs related to the moon, which create a very peculiar mood that is so characteristic for this movie. Although the story is nothing revolutionary, the way this movie is made gives it an advantage over many other werewolf productions. The werewolf creature itself is in my opinion what serves as a big plus to the overall impression. With today’s technology, which wasn’t available back in 1981 when the movie was released, to some people it may seem a bit grotesque and old-fashioned, but it nevertheless has its own charm which led the movie to its becoming a cult classic. Putting the disc into your player, don’t expect anything revolutionary, but nevertheless it’s a pleasant ride to go on.
8.5/10
And that’s all for today folks, thank you very much for reading and what can I say? See you next time!
Cursed
is another movie
that makes many references to the original Wolf
Man. The pentagram’s use here is similar to the one in the 1941 classic.
After a character in the movie contracts lycanthropy, dark spots appear on the
palm of their right hand, which, if traced, create a pentagram. This is a
similar approach, if with a little twist, to the one in The Wolf Man. 
