38
ReelViews by James Berardinelli
Delpy's injection of class into an otherwise classless production raises the specter of what this film could have been with a better script and a better cast surrounding her.
What are people saying?
What are critics saying?
10
Los Angeles Times by Kevin Thomas
A painfully anemic variation on John Landis' 1981 winner, "An American Werewolf in London." While the original had both wit and poignancy--and an affectionate and knowing tip-of-the-hat to werewolf movies past--this slapdash, silly new edition is so cut-rate it has Luxembourg and Amsterdam standing in for the City of Light.
63
The Globe and Mail (Toronto) by Liam Lacey
Given Waller's experience and budget, one might expect he could upgrade the B-movie acting and stock situations. He doesn't. The pay-off comes not in the story or acting, but the camera play and movement.
20
Chicago Reader by Lisa Alspector
Ugly Americans in Paris have run-ins with the native werewolf culture in this horror-for-laughs story, in which the characters' stupidity and the deadpan acting are out of sync--instead of being campy or clever, the plot and performances are just unconvincing.
50
TV Guide Magazine by Maitland McDonagh
Forget about social significance, depth of character and complex thematic underpinnings, and repeat after me: "It's only a werewolf movie."
50
San Francisco Chronicle by Mick LaSalle
Delpy and Scott are able to put it over. She's French and deep and mysterious. He's a fresh-faced American, an open book. Liking them makes it possible to (kinda) like this otherwise routine horror movie.
25
Entertainment Weekly by Owen Gleiberman
The cruddy, shot-in-a-warehouse settings are especially depressing, since the computer-generated special effects seem to be taking place in another movie entirely (a far livelier one). [9 Jan 1998, p. 47]
25
Chicago Sun-Times by Roger Ebert
Any plot discipline (necessary so that we care about some characters and not the others) has been lost in an orgy of special effects and general mayhem.
50
Austin Chronicle by Russell Smith
Plenty of gore-slinging, wisecracking fun to be had, and yes, the repulsively convincing werewolf transformations and attacks still pack a breath-stopping wallop.
30
The New York Times by Stephen Holden
A slapdash, poorly acted, paint-by-numbers teen horror comedy, the sequel is too frenetically edited to build any suspense, and its special effects are strictly bargain basement.