MY MOMS A WEREWOLF
My Mom's a Werewolf has a slight premise frustrated suburban housewife finds that she is turning into a werewolf. Director Michael Fischa creates an amiable silliness out of it all. There is the odd amusing line: I see the mark of the pentacle on your face, says Ruth Buzzis fortune-teller. Thats just a zit, replies Katrina Casparay. Fischa drags out some frenetically silly scenes with Susan Blakely trying to hide her fur-covered condition as an amorous John Schuck gets into bed, or with her transforming during a visit to the hairdresser. Things descend into several inanely over-the-top sequences notably the visit to the dental surgery with a madly overacting Geno Silva. (Although in the overacting stakes, Geno Silva is outdone by Ruth Buzzi with a horrendously fake accent as the fortune-teller). It is enjoyable silly, although ultimately lacking in big laugh-out-loud scenes. In the end, it is hard to get too outraged about the lameness of the material it is after all exactly what one expects from a film with a title like My Mom's a Werewolf.
One of the major problems with the film is the conception of John Saxons werewolf seducer. Traditionally, the werewolf is a tragic figure, someone who has no control over his condition he is bitten at random and spends the rest of the story fighting against his animal nature. The werewolf has no powers other than those granted by his bestial condition. By contrast, the vampire is a calculating figure who spends most of his story usually preying on women and bending others to his will. For some reason, My Mom's a Werewolf chooses to play John Saxons werewolf more as a traditional vampire seducer who wields a hypnotic spell to seduce Susan Blakely, which throws the story off-balance somewhat.
Mark Pirro is constantly tipping his genre fan credentials throughout. Diana Barrows is written in as a nerdy fan. There is even a visit to a horror convention at one point where Barrows gets to rhapsodise over finding a copy of Famous Monsters of Filmland #12, while Famous Monsters editor Forrest J. Ackerman is seen to wander past in the background of the shot. Elsewhere, Barrows can be seen reading copies of magazines like Cinemagic and Gorezone and delighting at finding a video copy of Blood Orgy of the She-Devils (1972).
Director Michael Fischa has made a handful of other films, which fall either into the horror or action genres. His other horror films include Death Spa (1988), Mascara Diablo (2005) and Deadtime Stories (2008).