The mood sustained by the film is unusually effective. As director, Charles Band tends to overdo the slow-motion camerawork, symptomatic of well-budgeted erotica’s penchant to take itself on the pretentiously serious side. Nevertheless, some of the fantastique erotic images in the film are undeniably potent – like the striking scene where the twin transforms into the beast at the point of orgasm during sex with Sherilyn Fenn, or the image of the beast appearing to caress Fenn as she sits on a bed in a white nightgown. The scene that works the best in the film is the surprise when the priest tells Sherilyn Fenn that the maid Martha (Hilary Mason), who has been established as an unremarkable support character, died six months before. Considerable aid is received from Pino Donaggio’s moody score. On the less convincing side, the wolf looks somewhat cartoonish with its cute ears and far too anthropomorphically expressive face.

The moodily handsome Malcolm Jamieson is effective as both the handsomely cruel brother and his haunted good twin. The film’s non-performer is Sherilyn Fenn who has still to demonstrate any real ability in anything she has been in other than taking her clothes off. All she demonstrates here is a cross-eyed vacancy and one is at a loss, other than the obvious hormonal one, to explain where the short-lived Sherilyn Fenn cult came from.