Click to Skip Ad
Closing in...
Jacques Audiard Wants Magic, Not Realism, in His César Nominee 'Dheepan' Jacques Audiard Wants Magic, Not Realism, in His César Nominee 'Dheepan' How John Ridley and Company Create the Emotional Resonance of 'American Crime' How John Ridley and Company Create the Emotional Resonance of 'American Crime' WATCH: Surreal, Macabre 'The Lobster' Has a Darkly Comic New Trailer (Review & Roundup) WATCH: Surreal, Macabre 'The Lobster' Has a Darkly Comic New Trailer (Review & Roundup) Top 10 Takeaways:  'Hail, Caesar!' Leads Three New Releases—Which Barely Total $20 Million Top 10 Takeaways: 'Hail, Caesar!' Leads Three New Releases—Which Barely Total $20 Million Screen Talk: Sundance Wrap — and How the SAG Awards Shape the Oscar Race Screen Talk: Sundance Wrap — and How the SAG Awards Shape the Oscar Race Why 'Star Wars: The Force Awakens' Should Win the VFX Oscar Why 'Star Wars: The Force Awakens' Should Win the VFX Oscar How Sony Pictures Classics Picked Up Four Pictures at Sundance How Sony Pictures Classics Picked Up Four Pictures at Sundance Jacques Rivette, Master of the French New Wave, Dies at 87 Jacques Rivette, Master of the French New Wave, Dies at 87 Sundance: Wall Street Movie 'Equity' Starring Anna Gunn Was Made by Women for Women Sundance: Wall Street Movie 'Equity' Starring Anna Gunn Was Made by Women for Women How They Edited the Oscar-Nominated 'Mad Max: Fury Road' How They Edited the Oscar-Nominated 'Mad Max: Fury Road' 'Anomalisa' Filmmakers on Animated Sex, Their 'Impossibly Low' Budget, and the Sad Impatience of the Studio System 'Anomalisa' Filmmakers on Animated Sex, Their 'Impossibly Low' Budget, and the Sad Impatience of the Studio System Alejandro G. Iñárritu on Leading Oscar Nominee 'The Revenant': "This was a film that easily could kill you" Alejandro G. Iñárritu on Leading Oscar Nominee 'The Revenant': "This was a film that easily could kill you" WATCH: Oscar Nominee Tom Hardy Explains Why Shooting 'The Revenant' Was So Bloody Hard (EXCLUSIVE VIDEO) WATCH: Oscar Nominee Tom Hardy Explains Why Shooting 'The Revenant' Was So Bloody Hard (EXCLUSIVE VIDEO) Why 'The Revenant' Was Not Eligible to Compete for the Oscar for Original Score Why 'The Revenant' Was Not Eligible to Compete for the Oscar for Original Score Maya Forbes Stands by Her Dad in Directorial Debut 'Infinitely Polar Bear’ Maya Forbes Stands by Her Dad in Directorial Debut 'Infinitely Polar Bear’ Nicolas Cage Boards Oliver Stone's 'Snowden' Nicolas Cage Boards Oliver Stone's 'Snowden' Ten Hot Movie Pairings to Look Forward to in 2015 (Trailers) Ten Hot Movie Pairings to Look Forward to in 2015 (Trailers) Why Ten Years Later, Jonathan Glazer's 'Birth' Is Still a Masterpiece Why Ten Years Later, Jonathan Glazer's 'Birth' Is Still a Masterpiece Stream 'Blue Is The Warmest Color' on Netflix Instant Now Stream 'Blue Is The Warmest Color' on Netflix Instant Now Paul Dano On Nailing Nasty Roles in '12 Years a Slave' and 'Prisoners': "You Nut Up" Paul Dano On Nailing Nasty Roles in '12 Years a Slave' and 'Prisoners': "You Nut Up"

Trailers from Hell Bites Into 'The Howling'

Photo of Trailers From Hell By Trailers From Hell | Thompson on Hollywood August 1, 2014 at 1:00PM

Today on Trailers from Hell, horror buff Josh Olson talks 1981's "The Howling." 1981 turned out to be the Year of the Werewolf, enticing horror fans with "American Werewolf," "Full Moon High," "Wolfen," and the first out of the gate, Joe Dante's buff-oriented mixture of lupine chills and hip chuckles.
0
'The Howling'

Today on Trailers from Hell, horror buff Josh Olson talks 1981's "The Howling." 1981 turned out to be the Year of the Werewolf, enticing horror fans with "American Werewolf," "Full Moon High," "Wolfen," and the first out of the gate, Joe Dante's buff-oriented mixture of lupine chills and hip chuckles. An unexpected hit, it spawned six sequels and a semi-remake: "The Howling Reborn" (2011).

This article is related to: Trailers from Hell, Trailers


E-Mail Updates






Festivals on TOH



Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.