
Some people may find it difficult to believe, but besides A Werewolf in England, I can only think of one more movie that features werewolf bikers. And that’s Werewolves on Wheels from 1971, which revolves around a satanic vampire motorbike riding commune, High Moon which features Old West werewolves that ride modern bikes, and Bikers vs Werewolves which will be released later this year, but that’s about it.Â
As a matter of fact, the perception of Hellhounds has more than one prologue. Three sets of characters are presented quite randomly and the correlation is the mystery. First, a woman who seems to have been chased and bounded somewhere in a desert. Then a bounty hunter appears in the search for one of the members of a Hellhounds gang, and then a few of the members of The Silver Bullets are there. Finally, a lady whose husband has some of his body parts bitten off and it is just as puzzling as the bite looks like.
At a motorcycle rally, we are introduced to Alias, a Hellhound biker who is seen with his bounty hunter lover Mia, then some fights and bare breasts. However, there’s also a Dave (Daniel Link, Watch Over Us, Ghost Town) who made The Hellhounds completely inept after The Silver Bullets butchered them.Â
Unfortunately, just when we realize this, the writer and director Robert Conway (Exit to Hell, Battlefield 2025) resumes frantically focusing the lens everywhere. Here, Kevin (Cameron Kotecki, Senioritis, Selling Silence), a lad who was bit by something is running from a lady called Lucella (Eva Hamilton, Ruin Me, Blood Harvest) who claims to be his mom but doesn’t even resemble his mother.
Now, it is obvious that yelling annoyance is the main ailment of Hellhounds the so-called werewolves are supposed to bring to the table – a name everyone is afraid to pronounce. The word werewolf is never mentioned or hinted at until about the last forty minutes of the film, and even then, it is not referred to but rather sounds like a movie prediction.
Moreover, while on the topic of the movie’s marketing, let’s not bring Werewolf Bikers and Werewolf Biker Hunters into context as there is a civil strife between the two, and that, as Harper says at the beginning of the movie, is left in the past. It is a gloomy picture, and it is the only piece of The Silver Bullets we are presented with. Hellhounds is more of a philosophy rather than a story about hunting Dave and Lucella. And a good portion of it does seem like a traditional thriller.
At long last, when we are treated to the soothsayer and werewolf, it is a wee bit disappointing. So to speak, the CGI werewolf change scantily has any elements of bone breaking or flesh ripping which are normal prerequisites, and even if they are supposed to be, it is simply not there. Well, to be fair, that was at the time that I provided vent to my displeasure at the former turning being excluded from the screen. But regrettably, the next two are not. It does appear practical but there is not a great deal of gore, more people are shot instead of being shredded.
Knowing that Robert Conway was the one who directed the film, I was not expecting the budget to be good enough for the film’s expectations. But the plot we got had in my opinion a lot of potential, Werewolves, violent criminals in a modern-day Hole In The Wall, soullessly stalking each other.Â
What instead we receive is a talky film that is assembled in such a way that there are some quite noticeable and glaring plot holes, with far too much clumsy dialogue and a totally unsatisfactory anti-climatic ending. On his part, Conway does add some plot to Hellhounds in the form of scantily clad women, this is a first for him to include such elements in his film. But that and about two weak replays of some scenes from The Howling are needed to cover the mange on this mutt however that does not do the trick.
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