A classic, though somewhat dated and the pacing is a bit odd. Still, nothing really bad to say about it.

I really liked this one. Had that same feeling as An American Werewolf in London with it being a small main cast in a dire situation. Really liked the kitchen fight scene, and the whole reveal with Megan was expected since she showed up out of nowhere, but it still felt great.

As most horror fans would know, An American Werewolf in London (1981) is a beloved classic, blending horror and comedy in a way that few films have managed to replicate. It's often referenced in later depictions of werewolves and remains one of the most well-regarded films in the genre. Despite some dated references, such as mentions of erotic cinemas and the wedding of Prince Charles and Lady Diana, it has a timeless quality that still makes it a compelling watch today. One of the film's strongest aspects is its atmosphere. The opening sequence on the moors immediately establishes a sense of dread, with David and Jack lost in an eerie, desolate landscape. The tension builds effectively as the two men become aware that something is stalking them. Their attack is one of the most memorable horror moments of the film, and what makes it so effective is how quickly and brutally it unfolds. The audience, like the characters, barely gets a chance to register what's happening before the horror fully takes hold. Jack's return as an undead apparition adds a unique element to the story, providing both dark humour and exposition. His progressively decaying form is a masterclass in practical effects, particularly the scene where a piece of toast falls out of his wounded cheek—both grotesque and absurdly funny. His interactions with David provide some of the film's most iconic moments, blending the supernatural with a deeply human portrayal of friendship. The concept of werewolf victims being trapped in limbo is an intriguing addition to werewolf lore, and Jack's increasingly desperate pleas for David to end his own life lend the film a tragic undertone. The relationship between David and Alex is another key aspect of the film. While their romance develops rather quickly, it feels natural enough given the circumstances. Alex's compassion for David makes the final act even more devastating, as she tries to reach out to him even when he has lost all control. The famous transformation sequence, where David first turns into a werewolf, remains one of the most impressive practical effects achievements in cinema history. The slow, painful transformation, with David's body stretching and contorting in agonising detail, is a stark contrast to the more instantaneous changes seen in many other werewolf films. The use of sound—David's screams mixed with the cracking of bones and elongation of limbs—adds to the horror, making it a truly unforgettable scene. The film's use of sound in general is exceptional. From the subtle atmospheric noises of the moors to the sudden ferocity of the werewolf attacks, the audio design plays a significant role in building tension. Even small details, like the way animals react to David as his transformation nears, contribute to the sense that something supernatural is at play. The music choices, including ironic use of moon-themed songs like Blue Moon and Bad Moon Rising, also help reinforce the film's dark humour. David's eventual acceptance of his fate is handled well, with his increasingly erratic behaviour as he realises the truth about what he has become. His waking up in the zoo, naked and confused, is one of the film's funnier moments, adding to the film's signature balance of horror and comedy. The scene in the adult cinema, where David confronts Jack and his other victims, is another standout moment. The contrast between the absurdity of the porno playing in the background and the grim discussion of how David should end his life makes it one of the most uniquely unsettling scenes in the film. The ending is abrupt but powerful. After a brief moment where Alex tries to calm him, David, now fully transformed, lunges forward only to be gunned down by the police. There's no drawn-out resolution—just a quick cut to his lifeless human form, followed by a sudden shift to the credits with Blue Moon playing once more. It's a jarring ending, but it fits the film's tone perfectly, avoiding any unnecessary sentimentality. Overall, An American Werewolf in London is a masterful blend of horror, comedy, and practical effects. Its unique take on werewolf mythology, combined with its sharp writing and memorable performances, ensures its place as one of the best horror films ever made.

É um filme que faz jus ao nome em todos os sentidos. A história te envolve, a tensão e angústia chegam a ser palpáveis. Facilmente mostra muitas facetas que o ser humano tem. Mesmo se passando no passado, os temas seguem super atuais pro que está ocorrendo pelo mundo. Para aqueles que aguentam as três horas e meia de filme e os seus tons mais pesados e grotescos, digo que vale a pena ver.

Inesperadamente incrível, vale muito a pena ver, mesmo para quem não é católico nem religioso. E como falei para amigos: esse filme é tudo que Emília Pérez tentou ser mas fracassou.

Captain America was pretty decent. Not nearly as bad as the critics are making it out to be, especially if we’re using the rest of the MCU as reference point.

Facilmente um dos melhores filmes brasileiros existentes. Direção, música, atores, tudo foi impecável. Não tenho como recomendar mais o filme. -- Até um parente meu, que caiu na extrema direita há uns anos, foi ver comigo, (após muito convencimento da minha parte) e gostou muito. O filme possibilitou uma reconexão com esse parente meu que há tempos não conseguia mais ter uma conversa de tema sério sem acabar em briga nas nossas discordâncias políticas, mas naquele dia eu consegui conversar com a pessoa abertamente sobre a ditadura como fazia antes. Obrigada Ainda Estou Aqui por essa conquista.

Uma obra de arte incrível que me arrependo amargamente de não ter conseguido ver nos cinemas (a distribuição do filme nos cinemas brasileiros foi uma piada).

https://www.ign.com/articles/2007/11/19/mass-effect-review-2