Alright, pop that tape in the VCR, adjust the tracking just so, and settle in. Tonight, we’re venturing back to 1997, a time when following up a stone-cold 80s masterpiece seemed like… well, maybe not the best idea, but certainly an idea someone had. I’m talking about An American Werewolf in Paris, the high-energy, high-concept, and, let's be honest, highly debated sequel to John Landis's iconic 1981 original. Finding this on the rental shelf back in the day felt like a promise – more werewolf mayhem, this time with a slicker, faster, newer coat of fur. Did it deliver? Let's hit play.
### Bonjour, Lycanthropes!
The setup is pure 90s adventure fuel: Three American college buddies – Andy (Tom Everett Scott, fresh off the wholesome charm of That Thing You Do!), Brad (Vince Vieluf), and Chris (Phil Buckman) – are doing the obligatory Euro-tour thing, seeking thrills and maybe some romance. Their quest leads them to Paris, specifically to the Eiffel Tower, where Andy pulls off a daredevil bungee jump only to intervene when a mysterious young woman, Serafine (Julie Delpy), attempts to jump herself. Naturally, Andy falls head over heels, but Serafine has secrets... furry, moon-activated secrets. Turns out, Paris has its own lycanthropic underground, a rather sophisticated one operating out of hidden labs and gothic nightclubs, experimenting with harnessing werewolf power.
It’s a far cry from the lonely, misty moors of Yorkshire, swapping atmospheric dread for a kind of high-octane, techno-thumping creature feature vibe. This isn’t your dad’s werewolf story; it’s aiming for something… else. Director Anthony Waller, who previously gave us the tense thriller Mute Witness (1995), certainly brings a visual energy to the proceedings, capturing the beauty of Paris while injecting it with a dose of frantic horror-action. You can almost feel the VCR straining to keep up with the quick cuts during some sequences.
### The Digital Dog Days
Now, we have to talk about the elephant – or rather, the werewolf – in the room: the special effects. Landis’s original is legendary for Rick Baker’s groundbreaking, Oscar-winning practical transformation effects. They were visceral, painful, and utterly terrifying. Paris, arriving sixteen years later, fully embraced the burgeoning world of Computer Generated Imagery (CGI). The werewolves here are digital creations, bounding across rooftops and snarling directly into the camera.
Was it impressive back in '97, projected onto a big screen or even glowing on our CRTs? For its time, yeah, there was a certain "wow" factor to seeing fully rendered creatures interacting (somewhat) seamlessly with the live-action environment. The ambition was clearly there. Retro Fun Fact: The production reportedly poured a significant chunk of its estimated $25 million budget into these digital effects, hoping to set a new standard. Watching it now, though… well, let's just say the CGI hasn't aged quite as gracefully as Julie Delpy. The werewolves often have that slightly detached, video-game-cutscene look characteristic of early digital creature work. It lacks the weight, the tactile terror of Baker’s practical genius. It’s a fascinating time capsule, showcasing the exact moment Hollywood began its big pivot away from latex and animatronics towards pixels.
### 90s Energy, Mixed Results
The action itself is plentiful, if less focused on suspense and more on kinetic chases and explosive confrontations. There's a notable sequence in the Père Lachaise Cemetery and a chaotic climax involving secret societies and serums. Tom Everett Scott makes for a likable enough lead, bringing an earnestness that keeps you rooting for him, even if the script doesn't give him the depth David Naughton had in the original. Julie Delpy, even in this B-movie framework, radiates intelligence and a certain melancholic allure. And Vince Vieluf leans hard into the obnoxious sidekick role, providing the film's more overt (and often crude) comedy.
The blend of horror and comedy here feels distinctly different from the original’s masterful balance. Paris often swings more wildly between slapstick (sometimes involving detached limbs) and attempted scares, fueled by a pulsing soundtrack featuring tracks like Bush's "Mouth" remix – remember that one blasting from the speakers? It perfectly captures that late-90s alternative-meets-electronica soundscape. Retro Fun Fact: The film struggled to find its footing, reportedly going through numerous script revisions before settling on this action-heavy, darkly comedic approach. This might explain some of the tonal inconsistencies.
### Legacy in the Shadow
Upon release, An American Werewolf in Paris received a critical mauling (pun intended) and didn't exactly set the box office ablaze, barely recouping its budget with around $26.6 million worldwide. It was seen, largely correctly, as a pale imitation that missed the point of what made the original so special – the blend of genuine horror, sharp wit, and groundbreaking practical effects. It lacked the original’s pathos and terrifying body horror.
And yet… finding that worn VHS copy now sparks a different kind of feeling. It’s undeniably a product of its time, a fascinating, flawed experiment in bringing werewolf mythology into the CGI age with a distinctly 90s attitude. It’s loud, sometimes goofy, and the effects might make you chuckle now, but there’s an undeniable energy to it. It tried something, even if it didn't quite succeed in living up to its legendary namesake.
VHS Heaven Rating: 4/10
Justification: While ambitious with its early CGI and energetic in its execution, Paris ultimately falls flat compared to its predecessor. The digital effects are painfully dated, the script lacks the original's wit and depth, and the tonal shifts between horror and comedy are often jarring. However, Tom Everett Scott and Julie Delpy offer some charm, and its status as a late-90s artifact – complete with questionable fashion and a booming soundtrack – grants it a sliver of nostalgic curiosity.
Final Thought: It’s no masterpiece, but An American Werewolf in Paris is a perfect example of that late-VHS era ambition where burgeoning digital dreams often outpaced the actual technology, leaving us with a uniquely awkward, yet strangely watchable, piece of 90s creature feature history. Worth a nostalgic spin, perhaps, just keep your expectations (and tracking) adjusted accordingly.