From the very first scene, The Howling plays around with the notion of vulnerability as a role-playing exercise, a pseudo-sex game.

The ironic use of every seventies psychological cliche in an unapologetic, unabashed B-movie elevates The Howling to irresistible silliness. Written and directed by Joe Dante, who comes to us straight from the horror-movie forge of Roger Corman, The Howling pays enthusiastic scenic homage to B-movies while remaining faithful to the exploitation formula of the genre. [15 May 1981]

Yes, Rick Baker won the Oscar a year down the line for his American Werewolf In London FX. And, yes, they are staggering. But it is Rob Bottin's work here (with inflatable air bags under a latex "skin" and a pioneering "hydraulic snout") that is — and ever shall be — the pinnacle of mutation effects. Amen.

The film slides into its situation in a clever, fresh way, and the balance of wit and horror is well maintained throughout, though Sayles's decision to divide up the protagonist's chores among four main characters costs him something in the intensity of audience identification.

Director Joe Dante’s work reflects Alfred Hitchcock’s insistence that terror and suspense work best when counterbalanced by a chuckle or two.