★★★☆☆

Attention all werewolf movie fans: if you like your lycanthrope tales packed with fun and eccentric set-pieces, then 1981’s Full Moon High should easily tick every box. You’d be forgiven for knowing nothing about this cheesy yet enjoyable romp, as it never received a UK cinema release. In fact, due to its modest budget, it had only a limited theatrical run in the States before disappearing into relative obscurity—becoming a cult film in its own right amongst a sea of forgotten B-movies.

Full Moon High takes its inspiration from the monster movies that were staples of American drive-ins throughout the 1950s—specifically titles like I Was a Teenage Werewolf (1957) and Blood of Dracula, released the same year. Adam Arkin (Chicago Hope) stars as Tony Walker, a high school football star bitten by a werewolf during a trip to Romania with his CIA operative father, Colonel William P. Walker (Ed McMahon).

Tony’s werewolf is far removed from the howling creatures that have populated recent cinema. Instead of a terrifying beast, think of a man running around with large hairy hands and a furry face reminiscent of Lon Chaney Jr. in The Wolfman (1941). His unique affliction? He’s stopped ageing. Years later, still trapped in a teenager’s body, he returns to his hometown and re-enrols in high school to finally earn his diploma and win the big game against their rivals. Unfortunately for Tony, he now faces the minor inconvenience of transforming into a werewolf every full moon.

On paper, the premise sounds completely daft, and for the most part, it is. Director Larry Cohen (It’s Alive) even remarked that this was his only intentional comedy. But because it’s a Cohen film, there’s plenty going on beneath its ten-jokes-a-minute surface: it’s a blend of pure teen comedy, horror parody, and social commentary on the cultural shifts in America between the 1960s and the 1980s. The tonal shifts and humour don’t always land, but that somehow never matters because the movie is consistently entertaining and full of charm.

The film signals its intent from the very start. During an opening school football game, the soundtrack is filled with growling. You might wonder if a werewolf is already on the loose in broad daylight, but you’d be wrong. What you’re actually hearing are the collective grunts and groans of the lads on the pitch. Top marks to the filmmaker for injecting such audio-led humour so early on—I’m reasonably sure it was intentional.

To fully grasp Full Moon High, you need to understand Larry Cohen. Born in Manhattan in 1936, Cohen began his career in the early-1960s writing for television shows such as The Fugitive (1963-67), Columbo (1968-1971), and The Invaders (1967-68). It was during this era that he honed his ability to write sharp, fast-paced dialogue and make the most of limited resources.

By the 1970s, Cohen moved into feature films, hopping between genres with ease. He made crime films (Bone), blaxploitation hits (Black Caesar, Hell Up in Harlem), and then pivoted to horror with 1974’s It’s Alive. That film, featuring a rampaging mutant baby, was a major success and granted Cohen the freedom to continue making movies his own way.

I’ll admit I’m not familiar with most of the director’s back catalogue; aside from Full Moon High, the only other entry I’ve seen is his take on the “monster invading a city” concept: Q—The Winged Serpent (1982). Starring David Carradine and Richard Roundtree, this odd mash-up of creature feature and crime thriller features an ancient Aztec beast picking off New Yorkers from rooftops. It’s pure B-movie madness, but Cohen makes the most of a small budget. I’d also be remiss not to mention The Stuff (1985), his bizarre critique of consumer culture involving a parasitic dessert.

One can see how Full Moon High fits into this lineage of small-budget, “schlocky” fare that thrived between the 1940s and late-1950s. Though these movies were often dismissed as inferior to major studio releases, they’ve resonated with audiences for decades and left a significant cultural mark on cinema.

The film is littered with references for eagle-eyed fans. Tony Walker’s name is a nod to Tony Rivers, the lead in I Was a Teenage Werewolf. Another name from that film crops up via Alan Arkin (Adam’s real-life father), who plays Dr Brand. Even the Romanian woman who reads Tony’s palms is a reference to the fortune teller in The Wolfman. I even noticed a nod to the Psycho shower scene and a possible tribute to Brian De Palma’s Carrie (1976) in the final act.

The attack in Romania features a running gag involving a violin—a possible nod to Mel Brooks’ Young Frankenstein (1974)—which Tony hears as a sign of his curse. Once bitten, his transformation takes effect almost immediately during his flight back to the US, much to the chagrin of a group of hijackers.

Back on American soil, Tony’s father (a womanising parent who feeds him awful food) ends up accidentally killing himself with a ricocheting bullet while hiding in a nuclear shelter. Following this, Tony “nibbles” on several local girls and is eventually forced to leave town. Interestingly, despite being a werewolf movie, there are no actual werewolf kills; the only deaths are accidental. This highlights Cohen’s goal: to make an incredibly silly, sweet-natured parody rather than a slasher.

The final act, where Tony returns to his high school years later, provides the social commentary. The once-pristine school is now a litter-strewn shell filled with unruly, drug-using “layabouts”—a stark contrast to the Sixties setting of the film’s opening.

Much like Airplane! (1980), a lot of the humour comes from sight gags. One highlight features a toy plane clumsily moving over a map to show the route to Romania (predating Indiana Jones). The newspaper headlines are equally absurd: “Werewolf annoys community” and “Wolfman eats Chinese, 30 minutes later is hungry again!”

The cast is generally excellent, though many actors are clearly much older than the teenagers they’re portraying—notably Bill Kirchenbauer and Roz Kelly. I suspect Cohen used this as a subtle visual gag. Joanne Nail gives a spirited, funny performance as Tony’s love interest, while Elizabeth Hartman is “comedy gold” as the mousy teacher who eventually becomes Tony’s werewolf wife. Adam Arkin is understated, perhaps running at a lower gear than his co-stars, but he remains effective.

One negative aspect that can’t be ignored is the presence of humour that would today be considered homophobic, particularly the running gag involving Kenneth Mars’ Coach Cleveland. While a product of its time, it’s a dated element that warrants a mention.

Overall, Full Moon High is a goofy, amusing oddball of a movie. It isn’t as slick as its closest relative, the Michael J. Fox-starring Teen Wolf (1985), but it has significantly more heart. Its laid-back charm and rough-around-the-edges energy serve as a fine reminder of why Larry Cohen was such a unique voice in cinema.

USA | 1981 | 94 MINUTES | 1.85:1 | COLOUR | ENGLISH

Limited Edition Blu-ray Special Features:

This Eureka Blu-ray disc makes for a superb viewing experience. The 1080p HD transfer is sharp, featuring vibrant, fresh colours throughout. Night scenes look equally excellent; black levels are solid without a hint of pixelation, while brightness and contrast appear perfectly balanced.

In terms of audio, you can choose between the uncompressed LPCM (the original mono presentation) and optional English subtitles. The sound quality is impressive; dialogue remains crisp, and even at higher volumes, there’s no noticeable hiss or distortion.

The disc’s extras offer a fascinating deep dive into the film. First is Today’s Teenage Werewolf, featuring Welsh journalist Michael Doyle, author of Larry Cohen: The Stuff of Gods and Monsters. Doyle waxes lyrical about the production, providing plenty of detail to satisfy any film geek. Finally, there’s a video essay titled Growing Pains by werewolf expert Kaja Franck (The Ecogothic Werewolf in Literature), which thoughtfully explores the cinematic history and evolution of the teenage werewolf.

• Limited Edition O-card slipcase featuring new artwork by Mute.
• Limited Edition booklet featuring new writing on Full Moon High by film historian and disc producer Craig Ian Mann, author of Phases of the Moon: A Cultural History of the Werewolf Film.
• Uncompressed LPCM audio (original mono presentation) | Optional English SDH.
• NEW audio commentary by Steve Mitchell, director of the 2017 documentary King Cohen.
• Archival audio commentary with director Larry Cohen, moderated by Steve Mitchell.
• NEW interview with special-visual-effects designer Bran Ferren.
• Today’s Teenage Werewolf—a NEW interview with film writer Michael Doyle, author of Larry Cohen: The Stuff of Gods and Monsters.
• Growing Pains—a NEW video essay on the history and evolution of the teenage werewolf on film by werewolf expert Kaja Franck, author of The Ecogothic Werewolf in Literature.
• Original theatrical trailer.

Cast & Crew

writer & director: Larry Cohen.
starring: Adam Arkin, Ed McMahon, Roz Kelly, Joanne Nail, Bill Kirchenbauer, Kenneth Mars, Elizabeth Hartman & Alan Arkin.