Blackout review

By David Dent

Another werewolf movie, you groan? Come back, this is a Larry Fessenden werewolf movie, and anything by this guy is worthy of your attention.

As usual with his films, Fessenden focuses on the details rather than big set pieces. We meet Charley (Alex Hurt), an artist with a drink problem and a lot of baggage, not least an awkwardly ended relationship with ex Sharon (Addison Timlin), daughter of crooked local property developer Hammond (Marshall Bell) with whom his late father was entwined business wise.

Oh and Charley is also a werewolf, who every full moon slowly works his way through the already slender population of Talbot Falls, much to his unhappiness; Charley doesn’t take pride in his lycanthropy. With the local cops seemingly at sea in terms of the murderous perpetrator – and with slimeball Hammond pointing the finger at the local Mexican community – for all these reasons Charley wants to leave town.

First, he drops off some paperwork, which might take down Hammond at the same time as it exposes his dad, to local lawyer Kate (a cameo from Barbara Crampton), hoping that it can do some reputational damage. Then he phones his friend Earl (Motell Gyn Foster) arranging to meet up; Charley has in mind one last favour, but first there’s some other scores to settle.

It’s typical Fessenden to make Charley’s werewolf dilemma only one of Blackout’s stories; his helplessness to stem the tide of racism and misanthropy whipped up by Hammond (who is happy to employ minority communities for cheap labour, only to point the finger when things get ugly) seems as urgent as his need to stop growing fur every month. And it’s in this combination and interweaving of themes that the director (also producer, writer and editor) successfully avoids this being just another werewolf movie.

Everyone here turns in fantastic performances, and the non-professional locals contribute to the
atmosphere. There’s a fabulous, eerie score from Will Bates that ratchets up the tension nicely, but
the movie belongs to Hurt; tortured, angry but with an innate sense of right, he makes a great (and
memorable) monster, realised with some subtle but impressive makeup effects.

Blackout screened as part of the Overlook Film Festival 2024.