I think one of the hardest horror films to make is a satire.
Every horror filmmaker, particularly those on the indie circuit, seems to have
tried their hand at a horror comedy, but the satire is a bit more difficult. A
satire on something quite popular within horror—whether it be vampires,
werewolves, or the undead—oftentimes has to be balanced between a poking fun at
its subject in an ingenious or clever way and giving what the horror fans crave
(that being horror).
When Philip Mora’s Howling III opens, I was afraid he would
once again tread the same pratfalls that damaged his previous installment in
the Howling franchise. A wide-smiling tribe seems well pleased with the
werewolf they have captured. It appears as if this is a ruse as those in front
of the camera seem to be guided by the person behind the camera; yet, this is
considered plausible evidence of a werewolf by what the film considers a
certifiable scientist. When he talks with others about this, they consider his