(On TV, March 2017) It’s a good thing that director John Landis knows how to have fun, because otherwise there really isn’t much to An American Werewolf in London in terms of plotting. Young man gets bitten; young man contemplates the horrors of turning into a werewolf; young man dies. There’s the plot right there, but don’t get angry at the spoilers because this is not a movie about plot. Thanks to jolting dream sequences, sympathetic characters, a good dose of off-beat humour and the kind of why-the-hell-not filmmaking that disappeared after the eighties, An American Werewolf in London is an experience more than a story. The pacing picks up considerably after the first half-hour, if only because the main character gets hallucinations and dream sequences that allow for Nazi werewolves and sustained conversations with a dead decomposing friend (Griffin Dunne, far more interesting than the rather dull protagonist). Jenny Agutter is cute as a British nurse with a thing for lost American tourists, but the true nature of her role is looking sad in the film’s last moments. Otherwise, An American Werewolf in London is about the kind of genre horror practised so joyously in the early eighties. The humour of the film is undercut by the downbeat (but inevitable) ending. The pre-CGI transformation effects remain mildly impressive even today, while the soundtrack has a not-so-sly succession of “Moon”-titled songs. The abrupt ending does feel unsatisfying, but so does the end of a roller-coaster—it’s not the point of the experience.