WolfCop

He's a cop, and he's also a werewolf. Together they fight crime.

He's also an alcoholic. We first meet Lou (Leo Fafard) when he's stumbling out of bed, ignoring his unfeasibly attractive girlfriend (Sarah Lind), groping around for his clothes, losing his keys, and driving erratically to work in his sheriff's department car, blatantly ignoring several criminal incidents along the way. At work, the boss chides him for being late again and colleague Tina (Amy Matysio), who routinely covers for him, says that it's time he took on a case himself. This means driving out to see local tinfoil hat wearing type Willie (Jonathan Cherry), who apparently calls in about something on a daily basis. This time he claims there are teenagers up to something Satanic in the woods at night. So into the woods Lou goes, but this time he gets more than he bargained for.

It takes real skill to make a film this stupid this effectively. WolfCop hits every B-movie sweet spot but hidden under the surface is a keen intelligence. Fafard is note perfect in the central role and Matysio stands out in a fine supporting cast, bringing a dry wit to what might have been a thankless straight role. Little clues and hints at character backstories are effortlessly blended into the script. The pacing is superb even when it comes to action sequences that depend on being a bit pathetic and fizzling out awkwardly. Sharp dialogue keeps viewers engaged. Though it has fun with genre clichés, this isn't out to entertain with schlock alone.

Every werewolf film since Universal's has striven to deliver a unique take on the transformation sequence. This one conjures up all the agony of The Company Of Wolves and An American Werewolf In London but, at least outside the porn genre, its starting point is unique, and throughout it gives our hero a vulnerability that's important to the wider plot as well as to making him likeable. The fact that Lou is somebody used to waking up in strange places with odd injuries and only vague memories of the night before means that he eases into his new life without any irritating angst. The wolf part, in many ways the more responsible, amply delivers on maverick cop action (complete with A-Team-style modifying the van sequence) and there are plenty of fights and explosions. A protracted final sequence is the film's weakest part but it still provides some laugh out loud moments.

Most attempts at this kind of horror pastiche make for excruciating viewing. WolfCop recalls 2011's Hobo With A Shotgun in its ability to hit its targets dead on, but most importantly it has plenty of personality of its own. It's a real treat for genre fans.