Dead Howling

Every Frightfest needs an end of the world film these days, so when one with zombies and a werewolf became available, one can understand why it got snapped up. It also has the venerable Temeura Morrison, though as usual these days, he is present in a bit part, with material which doesn’t allow him to make much use of his talents. We see him at the very start, driving two kids along a country road. Megan (Téa Heathcote-Marks), the older of the pair, asks if they’re nearly there yet. She’s at that age where she’s resistant to learning, at least from him, but in the world, they’re facing, she and her brother Billy (Riley Stiles) are going to have to grow up fast.

We know this because over the opening credits we’ve already seen a montage of news clippings about the zombie virus. It’s all familiar stuff. So is most of the film, with one notable exception: the aforementioned lycanthrope, Carter (Joel Jackson). Soon he will be the one looking after the kids, even if nobody is quite sure about the arrangement. Megan, understandably, distrusts his monstrous side. He doesn’t mind babysitting, but he does mind the kids dragging him into danger. She and Billy want to get to a place called Sanctuary, one of those places of safety traditionally advertised to refugees in such films. He’s as cynical about it as viewers are likely to be, but ultimately, he’s not the sort of man to leave two teenagers to fend for themselves, so it’s not long before the three of them are back out on the road.

If this film has one thing to distinguish it, it’s its werewolf concept. “The serum affected me in a way that I cannot explain,” Carter says, explaining his background as a scientist involved in ‘the good kind’ of animal experimentation, and how he tested a potential zombie plague vaccine on himself. Interestingly, he references using an AI in the development process, providing a plausible reason why it might be both mysteriously effective and unreliable, with dubious side effects. At any rate, he doesn’t seem to need the full moon to transform, but has more control over his body – bad news for bad guys.

Good news for viewers, or so it should be, and indeed the most entertaining element of this film is the fighting. It’s not elegant but it is messy, and primal in a way that some will find deeply satisfying. It’s also the only time the pace picks up in what is otherwise a fairly routine drama with a coming-of-age element for the youngsters, especially Megan, who has to take on the adult responsibility of being prepared to kill those who want to eat her brains. Being female in a post-apocalyptic scenario, she also faces another kind of threat. This is relatively well handled and allows Heathcote-Marks to demonstrate something of her ability as an actor.

Dead Howling is enjoyable enough if you like that sort of thing, but it doesn’t seem to have anything to say and it’s not remarkable enough to make a lasting impression without that.

Reviewed on: 03 Nov 2026