User reviews

After years of reading and watching all the werewolf stuff I can get my hands on, I finally got around to reading and then watching Wolfen, and I was blown away by the gorgeous, chilling cinematography. You may take me at my word that I have seldom seen a film that was able to build the tension of what you don't see, and reward you when you finally do see it: I have never seen real wolves used so well, or shot so beautifully. As in the book, the Wolfen are both terrifying and yet somehow noble, and you respect the antagonism between them and the human characters (played very well by Albert Finney and co.), and while the ending is somewhat anticlimactic as opposed to its book counterpart, I was still quite pleased with the film as a whole. The introduction of the Native American element into the movie's version of the story made sense and was enjoyable (though E.J. Olmos's nudity was a little much), and I should also mention that the shots of New York were atmospheric and gorgeous as well, and when combined with the werewolf element, make a truly one-of-a-kind horror film. A must for werewolf fans, though they're not werewolves in the strictest sense, but a creatures as unique as their film: The Wolfen.

Werewolf movies were big in the early 80's and this is one of the good ones. This horror/thriller has striking cinematography and sound, fine direction, and a good script, and very good Special Effects.

A series of seemingly unrelated murders are being committed in New York City, from the penthouses of the super-rich, to the bombed out appearing South Bronx. Burned out detective Dewey Wilson (Finney) and terrorism expert Rebecca Neff (Venora) are brought in to solve the case. Coroner Whittington (Hines) finds a common thread.

Wolfen is one of the rare cases where lots of people working on one element improved the film, instead of hurting it. Four people are credited with the photography, six for the script, and eleven people worked on the Visual Effects. James Horner did the score for the film; a theme heard in another film he scored can be heard here, in an understated form.

Finney is good as the burned out detective. Venora isn't believable as a terrorism expert, but very believable as someone who doesn't have the sense to stay away from odd noises in the South Bronx. Hines is cynically funny as the coroner.

"Wolfen"is strong on technique, fair on acting. I'd recommend it.

I first saw this in the late 80s on a vhs. Found it to be a lil dull then but after revisiting few days back I found it to b a very different take on the wolf genre with theme of ecological imbalances n deforestation. The movie suffered cos it released in the same year as The Howling and An American Werewolf in London. While the latter two became very famous werewolves flicks, Wolfen became an obscured one. Wolfen also lacked the transformation scenes. The plot - A rich man, his wife n their tall n heavy built chauffeur r killed in a gruesome manner. The driver has his hand severed before he can shoot. A burnt out detective (Albert Finney) is called in to investigate along with a female reporter. Forensic evidence points towards wolf species but authorities r suspicious with a terrorist organisation n our detective gets curious with Native American theories on shapeshifting creatures. The director being a cinematographer, some scenes r shown thru the pov of the creatures with mounting tension. There is a very lousy voyeuristic sex scene again thru the pov of the creatures. The film does get a lil tensed towards the ending with the revelations n a decapitation scene.

"They can hear a cloud pass overhead, the rhythm of your blood. They can track you by yesterday's shadow. And they can tear the scream from your throat. There is no defense." I love it when you can tell a movie is gonna be great just from it's tagline. Wolfen is one of the most thoroughly underrated films of the 80's if not film history. From moment one with it's dreamy, monochromatic, animalistic tracking shots Wolfen sets itself up as a different kind of werewolf film. With Wolfen you get three movies in one a Dirty Harry-esquire cop investigation movie with Albert Finney and Gregory Harrison turning in fine performances as the ones investigating. A graphically intense horror film, with a menacingly sadistic, creepily cool performance from Edward James Olmos and of course the barely there "Wolfen" creatures. Lastly you get a statement on environmental issues and the hierarchy of society. Tom Noonan in his pre-Manhunter existence gives the movie a touch of class as an animal lover who wants to study the "Wolfen." If you're expecting a comedic werewolf movie such as "The Howling" or "An American Werewolf in London" this film isn't for you. But if you want a great suspense mystery, with dazzling visuals and one of the greatest endings in history check Wolfen out.

A New York cop (Albert Finney) investigates a series of brutal deaths that resemble animal attacks. Tom Noonan and his beard guest star in a key role.

The film is known for its early use of an in-camera effect to portray the subjective point of view of a wolf. Similar to thermography, the technique was later adopted by other horror films such as the "Predator" film series.

Although considered a modern werewolf classic, Roger Ebert asserted Wolfen "is not about werewolves but is about the possibility that Indians and wolves can exchange souls." Well, yeah, that is true... but it is still werewolves, even if not in the traditional sense.

Where is the proper release? This is what people want to know. Apparently the director has a preferred cut, but instead all we get is a bare bones Blu-ray with nothing more than a trailer. Surely there is much more that could be done.

Wolfen – not wolves, like a terrifically spiritual Edward James Olmos explains it to us – is a truly inspired and solid horror film that belongs to the best genre-achievements of the 80's. Terrifically set in the pauperized wastelands of New York, where an ancient terror unconquerably reigns. Only when someone of political importance vanishes in these suburbs, attention is drawn and an investigation is started. Albert Finney is well cast as the confused police officer who slowly has to face the fact that the murders in his district are committed by inhumanly strong forces, more and more resembling to animal attacks. The script of Wolfen (based on Whitley Strieber's novel) is a compelling one and it's filled with original and imaginative ideas containing spiritual motivations and even historical elements. A basic script like that, accompanied by a stunning photography and convincing acting can only result in a terrific, overlooked horror classic. Two thumbs up for this film! Director Wadleigh even satisfied the more mainstream horror fans as his film includes a couple of bloody killing sequences and a constant frightening tone. Finney and Edward James Olmos are the most impressive cast members, yet they receive good feedback from Tom Noonan (in one of his earliest roles), Gregory Hines (I don't believe I ever saw him in a horror film before) and Diane Verona. Fans of action-packed werewolf film may face a disappointment when purchasing this film, but all other open-minded cinema audiences are in for a really pleasant surprise. Wolfen is highly recommended and thought-provoking entertainment!

The vicious, bloody homicide of a prominent businessman, his wife, and bodyguard in New York's Battery Park brings shaggy detective Dewey Wilson out to investigate. The three victims were partially dismembered, and forensics finds non-human evidence on the bodies and body parts. From that captivating start, Michael Wadleigh's 1981 mystery-thriller, "Wolfen," holds viewer interest throughout. Other corpses surface during the course of the investigation, and, mysteriously, while some body parts seem to have been gnawed or eaten, diseased or cancerous organs were rejected. While rarely straying off course, this engrossing film adds a dose of Native American mysticism and lore to unraveling the series of murders. Although Wilson is not a particularly demanding role, Albert Finney brings a weary depth of character that enhances what could have been a stock character. Diane Venora is adequate as Rebecca Neff, Wilson's co-worker and love interest, but Gregory Hines is excellent as the forensics expert, and Tom Noonan brightens his few scenes as a wolf enthusiast.

Based on a novel by Whitley Strieber, Wadleigh, who also co-wrote the script with David Eyre, alludes to the killers' identity, but wisely keeps them off screen throughout most of the film. When only a pair of evil red eyes peer through the darkness, the imagination creates the horror. The killings and victims are subjectively seen through the killers's eyes with cinematographer Gerry Fisher's striking use of thermographic images, which add a surreal element. However, Fisher's non-thermographic photography is equally beautiful and turns the empty shells of churches and apartment buildings in the South Bronx into an otherworldly landscape consistent with the supernatural aspects of the story.

Unfortunately, the eerie buildup and savagery of the murders create expectations that the final revelation cannot meet. However, despite a climax that brings the story to a soft-landing, "Wolfen" delivers for most of its running time. With a fine understated performance by Finney, evocative photography by Fisher, and a taut script by Wadleigh and Eyre, "Wolfen" is a gem from the early 1980's that deserves to be rediscovered.

This is a rather surprisingly good atmospheric piece of work from the early '80's. It's an horror that mostly lays its emphasis on its atmosphere.

Even though the movie is from the early '80's but is still that feels and moves like an '70's movie, which is a positive thing to note because of the great style and way of film-making that flourished in the '70's. It's a sort of movie that takes its time to set and build up things and features some slow moving sequences. This of course also adds to the atmosphere of the movie.

It shows a lot of scenes from the 'wolves' point-of-view, kind of "Predator" like style. This is a great move and surely adds to the tension and also mystery of the whole movie.

It's very different from just the usual genre work, from the same time period. It's a pretty refreshing '80's horror movie. It's refreshing since it doesn't merely tries to be a typical monster horror movie but one that is well written instead. It has a sort of more 'realistic' approach so to speak. But yes, it's also definitely true that in this case this style of film-making also takes away some of the horror of the movie. The movie also doesn't alway makes the best choices with its story. And because the movie is rather 'slow', not an awful lot is ever really happening all the time in this movie in terms of horror or action. (Of course this changes more and more when the movie heads toward the ending and its conclusion.) The only real horror and tension is now basically only in its atmosphere, which also suffice enough in this case by the way, since its all done so great.

It sort of all makes you wonder why Michael Wadleigh never directed any more movies. This was his only featured movie he so far ever directed and he further more only makes music documentaries.

The movie features some absolutely great and dynamic cinematography. And they by the way must have really loved the steadicam. I mean, which other movie ever billed the steadicam photographer before its director of photography? And it's not like this movie is one of the first featuring a steadicam, since it's an invention from the early '70's actually.

The musical score by James Horner is also quite effective but James oh, James, why did you basically used this very same score later again for the movie "Aliens". Oh well, Horner just never has been really known for his originality and he copies his own work more than often, which doesn't take away that his scores are often highly effective for his movies.

The movie with Albert Finney, Edward James Olmos and Gregory Hines, among others, features quite some big popular names in it. The casting doesn't seem always likely but all fit their parts well and did a more than good job.

A refreshing and good original piece of work that is surely a recommendable one!

7/10

http://bobafett1138.blogspot.com/

And the 1981 award for worst sex scene in a horror movie goes to.... Wolfen!, it's coupling between cop Dewey Wilson (Albert Finney) and criminal psychologist Rebecca Neff (Diane Venora) filmed entirely in glorious Wolf-O-Vision, a technique that solarises the POV image, making the film look incredibly cheap and tacky in the process.

Unlike Joe Dante and John Landis, who employed groundbreaking make-up effects to bring their werewolves to life in The Howling and An American Werewolf in London (also 1981), Wolfen's director, Michael Wadleigh, uses a far less showy (and therefore cheaper) approach, keeping his wolves hidden from the viewer for the most part, opting instead to show us the world through their eyes... with Wolf-O-Vision!

Based on the novel by Whitley Strieber, Wolfen begins with the deaths of successful businessman Christopher van der Veer, his coke-snorting wife Pauline (Anne Marie Pohtamo), and their chauffeur while taking a night-time stroll in Battery Park, New York. The unfortunate trio are ripped to shreds by unseen assailants, the attacks filmed in... you guessed it!... Wolf-O-Vision!

Investigating the grisly incident is world weary cop Wilson, who discovers the existence of a 20,000 year-old tribe of Native American shape-shifters who, having been driven to near extinction by the white man, now live in the wasteland of the South Bronx, feeding on diseased down and outs. However, with Van Der Veer having designated their hunting ground for urban renewal, the shape-shifters have been forced to fight back.

While this is a pretty sound idea for a horror film, and the cast is good for this kind of thing (Edward James Olmos, Gregory Hines and Tom Noonan co-star), the dreadfully slow pace, the eco-warrior stance, and the reliance on Wolf-O-Vision make for a really dull experience. The derelict South Bronx locations are great (straight out of an Italian post-apocalyptic movie) and there's a smattering of splatter for gore-hounds to enjoy, but its not enough to compensate for the dreariness of proceedings.

As if realising his mistake, Wadleigh raises his game for a reasonably exciting finalé, in which Dewey, Rebecca and police chief Warren (Dick O'Neill) are surrounded by the Wolfen. The attack results in a neat decapitation (bet you can't guess who loses their head) and ends with a not entirely satisfactory resolution, the wolves leaving when Wilson smashes the model of Van Der Veers proposed Bronx development, as if doing so would stop the project from going ahead (I doubt if his ranting and raving about shape-shifters would convince the financial backers to change their minds).

Wolfen is absolutely a classic of the horror genre. Released in succession after the likes of Altered States, The Howling and An American Werewolf in London it actually provides more tension than the rest because it doesn't overdo the creature effects. The Howling is probably the most famous of the three films yet after purchasing and watching the blu-ray I realized something 33 years later... It's just not scary. The transformations are graphic but feel too long and drawn out now. As an adult I find that werewolves just are no longer scary. Neither is Dracula. At least American Werewolf was funny and had a charismatic lead. Where Wolfen exceeds it's genre roots is in it's attention to plot details and character development. Albert Finney is believable as a burned out cop and Gregory Hines is a treat as his co- star/sidekick the coroner. There are scenes in this film that work on a suspense level that few others can muster and the abandoned tenements provide a creepy location for their two man reconnaissance. As far as 80's horror goes this is essential viewing.

Wolfen(1981) Satisfying, surreal horror flick about unknown super wolves that are terrorizing the streets of New York City. Albert Finney,(in desperate need of a haircut) is the troubled, alcoholic police captain who has been assigned to find out why people are showing up dead at an alarming rate. The best part of this movie is the ingenious cinematography work by Gerry Fisher and the movie is directed by Michael Wadleigh( Woodstock). Finney is good, as usual, and Gregory Hines, in his film debut shines as a hip coroner working with Finney to solve the murders.The leads, the story line, plus a good supporting cast including Diane Venora and Tom Noonan helps make 'Wolfen' a pretty interesting film.

I read Whitley Striber's novel THE WOLFEN in the early 1980s and though not being much of a horror fan was mildly impressed with it and found out a couple of years later that a movie version starring Albert Finney had been released and I tried to find the movie on video but with no luck and it was several years later until I saw WOLFEN when it was broadcast on channel 4 one night and I was disappointed with it

Director Michael Wardleigh directed the classic Hippy concert movie WOODSTOCK and this adaptation has " Hippy anti corporate giant eco warrior " written all over it . In the book the wolfen are Darwian in concept - Nature is cruel so the wolfen are cruel . This is ignored for the most part in the film which often descends into smacking the audience around the head as to what a terrible thing industrialized societies are . Remember how conservationists and environmentalists put red Indians on a pedestal in the 1960s and 70s ? Well much of the narrative centres around mystic legends of the Native American Indians . Very noble sentiments I'm sure but much of this doesn't really go anywhere . Neither does the subplot about possible eco terrorists being involved in the murder of a powerful capitalist and his wife . We know who killed them at the start of the movie so why drag up people opposed to corporate economics into the story ? Strangely enough this might help WOLFEN become a sort of cult classic amongst anti globalisation protesters but for a mainstream audience who were expecting a horror film it's a turn off and what really spoils the movie is the ridiculous ending where we're told that it's all the fault of the human race and the Wolfen are really the good guys only protecting themselves from humanity . Sounds like this movie contributed to the movie career of Steven Segal . Reason enough to dislike it

To be fair to Wardleigh he has managed to capture some of the atmosphere and gore of Strieber's novel . One scene I recall from the book is something that doesn't appear in the film version per se is where a detective investigating the case is killed and when the paramedics pick up his body he spills in half ! Nasty . In the movie the nearest equivalent is when a detective has his hand bitten off and then his head - Which is lying on the pavement trying to say something . The director also manages to make New York come across as a cold , impersonal bleak place and when Wardleigh does this he succeeds . It's just a pity he didn't concentrate on these aspects more rather than cramming new age thinking and Indian legends down the audience throats

Intelligent thriller about a police officer (Albert Finney) following the trail of a series of murders plaguing the city of New York which seemed to have been caused by wild wolves. Film has a great cinematography, a creepy atmosphere, some thought provoking statements and a fine cast, but yet it doesn't never quite connect. Rated R.

In New York, when the influent millionaire Christopher van der Veer (Max M. Brown), his wife Pauline van der Veer (Anne Marie Pohtamo) and their bodyguard are mysteriously murdered at the Battery Park, Detective Dewey Wilson (Albert Finney) is summoned by his chief Warren (Dick O'Neill). Dewey had a drinking problem in the past, but now he is recovered, and is assigned to the case to work with the political specialist Rebecca Neff (Diane Venora). He meets with the coroner Whittington (Gregory Hines) that finds the case challenging. When a homeless man is found murdered in Bronx, Whittington finds the same Modus Operandi and a common animal fur of the Battery Park case. The expert in animals Ferguson (Tom Noonan) identifies the fur as belonging to a wolf, and the troublemaker Indian Eddie Holt (Edward James Olmos) becomes the prime suspect for Dewey.

"Wolfen" is a 1981 movie that has not aged well. When I first saw this film in the 80's, I found it better than now. The story is intriguing, based on an Indian urban legend, but the screenplay is not good. The camera work is excellent. After his death, Whittington is forgotten in the plot. Albert Finney is too weird to be the romantic interest of Diane Venora. Eddie Holt is also forgotten in the story. The supernatural wolfen are in a crime spree after Christopher van der Veer decides to build a future neighborhood in New York City. When Dewey destroys the models, does he resolve the wolfen problem? My vote is six.

Title (Brazil): "Lobos" ("Wolves")

Now, the premise of this story is pretty far fetched, but it's horror story after all. Expecting some wolf-man story, you are surprised at what the predator really is. And, the fact that they are providing some societal benefit by clearing the street of the homeless is really getting out there.

They would have gone unnoticed had they not killed some high mucky muck and his wife. Albert Finney brilliantly plays Dewey, a detective dragged out of a semi-retirement to solve these hot murders. He is teamed with a delightful Diane Venora (The Jackal, True Crime) to do what no one else can.

Gregory Hines ably assists in the hunt with his lab expertise and consummate acting skills. It is a mystery that makes no sense until Edward James Olmos, as a Native American, gives the supernatural explanation.

Forget all that and concentrate on the great performances, especially Finney's.

I loved the visuals and couldn't stand the voodoo-type theology, which was so typical of movies since the early 1970s. Here, the explanation of this whole story is just that: some secular Indian superstitious baloney that is given total credence. Well, we've seen that a number of times on films in recent decades, being part of the PC culture.

The unique cinematography, seeing as the wolf sees, with psychedelic-like negative images as he prowls the streets of New York City, is very cool. It's also very suspenseful, especially with the creepy sound-effects at times.

The first half hour of this film is very bloody and has a ton of verbal blasphemes. Acting-wise, Edward James Olmos' role was a confusing one, a tough character to figure out. Gregory Hines, with his big Afro haircut, looked straight out of the '70s. A young Diane Venora looked good and lot less hard-looking than she did a decade later on film.

In summary, this could have been a great horror movie had they stuck to horror and not inserted all the "theology."

When a famous tycoon, his wife, and his bodyguard are brutally murdered in Battery Park, a cynical detective (Albert Finney) is assigned to the case. With help from a police psychologist (Diane Venora), a colorful coroner (Gregory Hines), and a weirdo zoologist (Tom Noonan), his investigation leads him to suspect a Native American connection to the killings.

A great thriller with horror overtones that's a different kind of werewolf film than any other (certainly at the time of release). Many argue it isn't really a werewolf film at all. I can see why they'd say that but I think it obviously counts as one. The film is directed by Michael Wadleigh, whose only other directorial effort was the Woodstock documentary. It's a shame he didn't do more because he does show a good deal of talent here. Predator fans will notice this movie uses a similar visual technique for the wolves' point of view, including similar sound effects, years before the first Predator movie. The cast is excellent and the script is pretty good, if a little packed. Nice cinematography from Gerry Fisher and use of actual Bronx locations helps in creating a fine atmosphere. It's a very interesting film that tackles a number of subjects (probably too many). Monster movie fans might balk at the lack of any "wolf men," but the strength of the movie is not in its special effects or gore, but in its story and how it's presented. Keep an open mind and give it a shot and I'm sure you'll find something to like about Wolfen. I've seen it a few times now and each time it gets better.

I had heard many things about this film and read many reviews but had never seen it until about a year ago. It was first called to my attention because the title was mentioned in the film "The Dream Team" and I had always been curious to see it so I finally did. The story goes as follows. Dewey Wilson (Albert Finney) is in charge of investigating a gruesome and rather strange trio of murders committed in a small park in Manhattan. They are unique and draw attention because the victims are wealthy businessman Christopher van der Veere, his wife, and their former Haitian Death Squad bodyguard and they are killed by what appears to be a savage animal/dog attack. By some odd coincidence van der Veere was developing an area of Brooklyn slums for commercial purposes and some people had strenuously objected. To add more to the story several homeless people are found murdered in these projects much in the same way the first three were killed. Wilson recruits the help of Rebecca Neff (Diane Venora) a psychologist who specializes in murder and terrorism and starts digging into the lives of the van der Veere's and what they were up to. He soon begins to suspect the involvement of a group of Mohawk Indians particularly one named Eddie Holt (Edward James Olmos) who lends a air of mysticism to the case. But it goes much deeper than that. As Dewey discovers he is not up against a murderer, a terrorist, or a crazed Indian fanatic but a group of deadly enemies who see in the dark, hunt with menace, and kill anything they want and they have picked Dewey as their next target. They are the Wolfen. I am surprised that more people don't talk about this film as it is pretty good but it seems to have escaped major attention due to the Howling and An American Werewolf in London which were released around the same time frame. It is worth viewing at least once if only to say you've seen it. Based on the book by Whitley Strieber.

1981 was a good year for werewolf movies. American Werewolf In London (one of my all time favorite movies), The Howling, and this, Wolfen. Wolfen came out last, and well, they sure didn't save the best for last, did they? Wolfen stars Albert Finney, with the most scariest looking mullet in screen history he plays a pudgy cop who is investigating a series of bizarre deaths in the Battery Park area of New York City. Bit by bit, as the story unfolds, he finds out that the attacks aren't made by a human, and more strangely, there's a connection between them! Despite it's interesting cinematography, the whole story thing is ridiculous, and hardly holds up. Albert Finney embarrasses himself (again) and the rest of the cast try in vain to raise themselves above the cheesy script.

Director and cinematographer Michael Wadleigh is best known for his three-hour counterculture epic Woodstock, the iconic document of the 1969 music festival. The Ohio native only made one non-fiction feature and that was 1981's phantasmagorical noir thriller Wolfen. Steeped in Native American folklore, the film sees a desert dry Albert Finney investigate a series of gruesome and strange murders in downtown Manhattan and the Bronx. With a serious head of hair, Finney's character Dewey Wilson is given some razor sharp one-liners. You'd have loved to see this protagonist in another movie. Wadleigh uses many thermographic steady cam shots to convey the otherworldly subjective point of view of the killer, a technique that would inspire future movies like Predator. And New York City itself has never looked so ominous, where every shadow might grow a pair of fangs and demonic red eyes. There's many other impressive elements, from Edward James Olmos' small but key performance as Eddie Holt, Gregory Hines as the coroner-cum-comic-relief, Gerry Fisher's dreamlike cinematography and James Horner's fine score. In one particularly gasp-inducing scene, Wilson climbs to the top of the Manhattan bridge to interview Holt, who's a construction worker. I've never seen that landmark used on-screen in such a startling, nail-biting fashion. Wolfen is a forgotten gem. Give it a look.

*******SPOILERS******* Uneven horror story about super wolves, Wolfen, who take matters into their own hands, or is it paws, when their hunting grounds, the city slums, start to be encroached by big city developer Christopher VanDerVeer and cause havoc in NYC by doing in anyone who tries to disrupt their way of life.

"Wolfen" starts off promisingly with a pre-dawn attack by unseen, you don't see them but they see you, assailants in Battery Park on VanDerVeer, his wife and chauffeur, much like the beginning of the movie "Night of the Demon". But as the movie goes on it soon begins to get more and more confusing and not making the point between the attackers or Wolfen and the American Indians whom they seem to have some kind of alliance with and disintegrates into just another whodunit type of murder mystery.

Director Michael Wadleigh throws a lot of red herrings at the audience as to what and why the Wolfen's are all about or if their really wolves at all or are really just disgruntled American Indians upset at how their being treated by the US government in regards to the destruction of their ancient and ancestral homelands.

"Wolfen" could have been a much better movie if it stuck to the supernatural angle of the Whitley Striber novel instead of trying to be both a crime and horror movie at the same time. It reaches a blood climax when the Wolfen come out of the shadows and into the open in the Wall Street district and makes their feeling felt with horrifying results. Good photography of NYC with the tragic World Trade Center in many of the scenes and very good use of the innovation of "Wolf Vision" every time we see things from the Wolfen's point of view. But it would have been much better if it were filmed in the wide open country-side of the American south-west where Indians and wolves lived in harmony for over a millennium instead of a big city like New York where both have really nothing in common.

Albert Finney at times looked as confused about what he was supposed to be doing in the movie as was the movie audience who were watching him.

Wolfen is a police-procedural/horror movie that pretends to be intelligent--it tacks on a New Age environmental/anti-colonial message to make it appear more profound than it actually is. The Wolfen are portrayed as noble creatures, driven underground by Western imperialism who hunt down society's "sick and abandoned," in effect sanctioning killing black homeless people. The film-makers show little respect for human life in general--the Native American characters are shamefully portrayed, are given a mystical gloss and a wisdom that comprehends the Wolfen's ghastly logic, thus essentializing an entire ethnic group. On top of that, the movie is boring and uninteresting, and I didn't give a damn about any of the main characters, who are generic movie-policemen. Not even Finney can make his character at least mildly engaging.