A Scrappy Werewolf Ride With Teeth Showing

Read Time:5 Minute, 26 Second

MOVIE REVIEW
Frenzy Moon
–

Genre: Horror, Creature Feature
Year Released: 2025
Runtime: 1h 20m
Director(s): Gregory Lamberson
Writer(s): Gregory Lamberson
Cast: Alyssa Grace Adams, Aaron Krygier, Kayla Malika, Gabrielle Nunzio, Harold Octavius Jacob, Steven Maiseke
Where to Watch: available now on VOD

RAVING REVIEW: FRENZY MOON arrives with an unapologetic confidence in what it wants to be: a creature feature built on practical effects, contained chaos, and a love for old-school monster filmmaking that refuses to fade. Director Gregory Lamberson has been part of the underground horror landscape long enough to know exactly what he’s reaching for, and his intention is crystal clear. He openly states his desire to create a werewolf film without leaning on digital shortcuts. That spirit flows through every frame — from the full-body suits to the puppetry work to the constant attempt to keep something tactile and unpredictable on screen.

The story setup is straightforward: six college graduates, a remote cabin, and a mysterious stranger whose presence sends an early ripple of suspicion through an already uneasy group. This isn’t a film built on expanding a mythology or reinventing lycanthropy for a modern audience. Instead, it chooses containment, temperature shifts in group dynamics, and a sense of paranoia that nods toward classic siege-style horror. Lamberson’s affection for The Thing and Evil Dead is evident, not through imitation but through atmosphere — a sense that anyone could snap, anything could break, and every shadow carries something hungry.

Within that intent, the film succeeds in specific pockets. The wolves' practicality gives FRENZY MOON an identity that many microbudget horror films lack. Even when the suits look rough around the edges, they’re never boring. There’s movement, texture, and weight to them — qualities that digital creations rarely replicate at this budget level. In particular, a few quick glimpses of puppetry inject personality into the attacks, proving that limitations can still yield creativity.

Aaron Krygier’s performance is one of the clearer standouts, carrying a grizzled energy that fits seamlessly into the stranger-in-the-woods archetype without feeling stiff or parodic. The cast as a whole shows commitment, even when the material around them is uneven. Several performers lean into the escalating tension with the right level of panic, denial, and impulsiveness you’d expect from characters trapped in a situation far beyond their comprehension.

Still, FRENZY MOON wrestles with the same issues that often challenge films working with extremely restricted resources. The characters don’t always land with the definition they deserve, and their group chemistry varies wildly from scene to scene. There are attempts to build emotional stakes — fear, suspicion, fractured trust — but the film’s brisk pacing rarely gives these moments time to deepen. Some interactions feel more like placeholders than developments, leaving the story’s emotional core thinner than intended.

The practical effects are the film’s biggest selling point, but they introduce their own inconsistencies. During wide shots or faster movement, the creatures work well enough, selling the idea of a pack circling the cabin. But in close-quarters encounters, the differences between suits, puppetry, and quick cuts become noticeable. It isn’t ruinous — horror fans who appreciate scrappy, hands-on monster work will likely find these choices charming — but the seams do show, and the film never fully escapes the constraints that come with its production level.

The cinematography carries more energy than expected. Nighttime sequences, in particular, benefit from clever framing choices that maximize tension even when the threat isn’t fully visible. There’s an earnest attempt to hold on to atmosphere through lighting and blocking, and the film’s best scares rely on timing rather than spectacle.

The script aims for group paranoia, and while it captures flashes of that dynamic, it doesn’t always dig as deep as it could. There are moments when characters question each other’s motives, secrets, or stability, but the film rarely lingers long enough to let these suspicions snowball. Instead, it prioritizes momentum — understandable for an 80-minute creature feature, yet occasionally limiting in terms of dramatic payoff.

FRENZY MOON positions itself as a throwback, and on that level, it delivers: a compact horror story focused on claws, panic, and survival. Lamberson’s passion for physical monsters drives the film forward even when the narrative and performances hit uneven territory. For fans of microbudget horror, practical effects, or indie creature features that rely more on ambition than polish, there’s enough here to justify the watch. For viewers who expect a more refined experience, the rough edges may outweigh the film’s earnest charm.

Ultimately, FRENZY MOON is a film built on clear intentions and genuine affection for the genre. It doesn’t always reach the intensity it aims for, and its character work doesn’t consistently elevate the tension. But there’s something undeniably appealing about a filmmaker committing to tangible monsters and a cast throwing themselves fully into the chaos. It’s a flawed but spirited entry in modern werewolf cinema — one that respects the craft of practical effects and swings hard even when it knows the obstacles in its path.

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[photo courtesy of UNCORK'D ENTERTAINMENT, DARK STAR PICTURES, DIGITAL GUERRILLA CINEMA]

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