It seems like independent filmmakers in Britain have a particular fascination with comedic horror movies revolving around werewolves. There is perhaps the possibility that it speaks to this nation’s adoration of our pets, or even that the deep-rooted sadness of the beast resonates with the tendency of our people to look at the dark side of life. It is perhaps more likely that if your film has someone in a werewolf mask, you can get away with a lot without spending much because nobody takes such movies seriously.
In any case, this one begins with a monster hunter YouTuber Lucy Gray (Katherine Rodden) who has been on a never-ending quest of searching for elusive monsters across continents but has sadly run out of funds. The journey has left her utterly broke and forces her to return home to Hastings and live with her mother Carol (Emily Booth; if Ms Booth has now graduated to being cast in “mother” roles, I must be aging). She is now accompanied by her loyal cameraman and occasional lover Dustin (Charlie Preston).
As I pointed out in the first part, Lucy could have simply saved her money or stayed in England as there have been cave dwelling werewolves in the vicinity since at least the late 1700s and guess what, they are very much present today. While filming out in the woods during Christmas Eve with Lucy’s old friend, monsterologist Rupert (Cian Lorcan), they actually encounter Santa Claus, who is apparently taking a wiz break during his annual delivery of presents.
Things take a dark turn when Santa is made to wear a werewolf bite, sleeping in his vulnerable state. It’s not long before he turns into a cloaked WereSanta. Now not only are the folks in Hastings at risk, but also nobody seems to be getting their presents. The only option is to kill the alpha werewolf that started the whole infection in the first place, and in turn, all the bitten people, including Santa, shall regain their original form.
Airell Anthony Hayles was deeply engrossed as his co-writer and director for last year’s excellent and quite polished portmanteau film Midnight Peepshow. However, the title Werewolf Santa seems to replicate the scrappiness of his previous feature, 2020’s They’re Outside. Which is not so much a critique as much as it is an observation. Like TO before it, WS employs a found footage style that suits Gray’s role and tells it in a very (pardon the pun) shaggy dog fashion with rubbish seaside ghost trains, squabbling families, and a werewolf attack at a notorious dogging site.
Booth, Rodden, Preston and Lorcan make pleasant enough company for an hour, and at least, Hayles makes an effort towards building a festive ambience even going to the extent of casting genre icon Joe Bob Brigg to provide the voice for an animated characterization of ‘Twas the Night Before Christmas (for reasons I do not fully grasp). Apparent is the first of a planned three movie Christmas themed horror cycle, and while the Hayles is by no means the most refined director working in the genre at the moment, there is something about his strive for perfection that this makes me enjoy his films, soapsuds and all.
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