| Videos (see all 9) |
| Portia de Rossi | ... | Zela | |
| Mya | ... | Jenny | |
| Shannon Elizabeth | ... | Becky | |
| Kristina Anapau | ... | Brooke | |
| Daniel Edward Mora | ... | Jose (as Daniel Mora) | |
| Solar | ... | Zipper | |
| Jesse Eisenberg | ... | Jimmy | |
| Milo Ventimiglia | ... | Bo | |
| Jonny Acker | ... | Earl | |
| Eric Ladin | ... | Louie | |
| Christina Ricci | ... | Ellie | |
| Joshua Jackson | ... | Jake | |
| Derek Mears | ... | Werewolf | |
| Nick Offerman | ... | Officer | |
| Ken Rudulph | ... | Newscaster | |
| Judy Greer | ... | Joanie | |
| Michelle Krusiec | ... | Nosebleed Co-Worker | |
| Scott Baio | ... | Himself | |
| Shashawnee Hall | ... | Wrestling Coach | |
| Craig Kilborn | ... | Himself | |
| Emilie Odeile | ... | Co-Worker (as Emily O'Deile) | |
| Lance Bass | ... | Himself | |
| Egan Friedlander | ... | First Bouncer | |
| Randolph LeRoi | ... | Randy (as Randolph Le Roi) | |
| Brian Boone | ... | Frantic Bouncer | |
| Gary Dubin | ... | Police Officer #1 | |
| Chris J. Johnson | ... | Police Officer #2 (as Chris Johnson) | |
| Wilmer Calderon | ... | Police Officer #3 | |
| Brett Rickaby | ... | Animal Control Officer | |
| rest of cast listed alphabetically: | |||
| Doug Berry | ... | Paramedic (uncredited) | |
| Erik Rodham Clinton | ... | Band Member (uncredited) | |
| Brandon Cox | ... | Penguin Guy #2 (uncredited) | |
| Jason Cox | ... | Grady (uncredited) | |
| Jason Dottley | ... | Voice (voice) (uncredited) | |
| Katie Keim | ... | Waitress (uncredited) | |
| Bill Mehlem | ... | EMT (uncredited) | |
| Gregory Nicotero | ... | Man Pushing Dracula's Coffin (uncredited) | |
| Jason Pierce | ... | Nick (uncredited) | |
| Hans Raith | ... | Nightclub Security (uncredited) | |
| Johnny Ray | ... | Security Guard (uncredited) | |
| Jaret Reddick | ... | Band Member (uncredited) | |
| Michael Rosenbaum | ... | Kyle (uncredited) | |
| Bowling for Soup | ... | Carnival Band (uncredited) | |
| Christopher Van Malmsteen | ... | Band Member (uncredited) | |
| Gary Wiseass | ... | Band Member (uncredited) | |
| Rachel Zeskind | ... | Photo Double for Christina Ricci (uncredited) | |
Directed by | |||
| Wes Craven | |||
Writing credits(WGA) | ||
| Kevin Williamson | (written by) | |
Produced by | |||
| Daniel K. Arredondo | .... | co-producer (as Dan Arredondo) | |
| Stuart M. Besser | .... | co-executive producer (as Stuart Besser) | |
| Jennifer D. Breslow | .... | co-producer (as Jennifer Breslow) | |
| Dixie J. Capp | .... | co-producer | |
| David Crockett | .... | co-executive producer | |
| Marianne Maddalena | .... | producer | |
| Nicholas Mastandrea | .... | associate producer (as Nicholas C. Mastandrea) | |
| Julie Plec | .... | co-producer | |
| Andrew Rona | .... | executive producer | |
| Bob Weinstein | .... | executive producer | |
| Harvey Weinstein | .... | executive producer | |
| Brad Weston | .... | executive producer | |
| Kevin Williamson | .... | producer | |
Original Music by | |||
| Marco Beltrami | |||
Cinematography by | |||
| Robert McLachlan | |||
Film Editing by | |||
| Patrick Lussier | |||
| Lisa Romaniw | |||
Casting by | |||
| Lisa Beach | |||
| Mark Bennett | |||
| Sarah Katzman | |||
| Greg Orson | |||
Production Design by | |||
| Chris Cornwell | |||
| Bruce Alan Miller | |||
Art Direction by | |||
| Andrew Max Cahn | |||
| Jeff Knipp | |||
Set Decoration by | |||
| Douglas A. Mowat | |||
| Dena Roth | |||
Costume Design by | |||
| Alix Friedberg | |||
Makeup Department | |||
| Luisa Abel | .... | makeup department head | |
| Merribelle Anderson | .... | key hair stylist (as Merribelle A. Anderson) | |
| Rick Baker | .... | special makeup effects artist | |
| Rick Baker | .... | special makeup effects creator | |
| Rick Baker | .... | special makeup effects designer | |
| Howard Berger | .... | additional werewolf effects creator | |
| Anita Brabec | .... | key makeup artist (as Anita Barbec) | |
| Judy Crown | .... | hair department head | |
| Dawn Dininger | .... | special makeup effects artist | |
| Audrey Goetz | .... | special makeup effects: hair | |
| Connie Grayson | .... | hair department | |
| Ursula Hawks | .... | special makeup effects: hair | |
| Grady Holder | .... | dental prosthetics: K.N.B. EFX Group | |
| Judy Lovell | .... | makeup artist | |
| Clayton Martinez | .... | mold department: Cinovation Studios | |
| Lori McCoy-Bell | .... | hair department head | |
| Deborah Merle | .... | key makeup artist | |
| Sylvia Nava | .... | special makeup effects: hair | |
| Gregory Nicotero | .... | additional special makeup effects supervisor (as Greg Nicotero) | |
| Gregory Nicotero | .... | additional werewolf effects creator (as Greg Nicotero) | |
| Douglas Noe | .... | prosthetics makeup artist | |
| Julie Pearce | .... | makeup department head | |
| Bill Sturgeon | .... | makeup effects producer: Cinovation Studios | |
| Norman Tempia | .... | special makeup effects: hair | |
| Lynne Watson | .... | special makeup effects: hair | |
| Nacoma Whobrey | .... | assistant makeup artist | |
| Hiroshi Yada | .... | mold department: Cinovation | |
| Diana Yun Soo Yoo | .... | special makeup effects artist | |
| Michael Burnett | .... | special makeup effects artist: prosthetic mask fabrication (uncredited) | |
| Michelle Rene Elam | .... | key hair stylist (uncredited) | |
| Thomas Floutz | .... | special makeup effects artist: crew (uncredited) | |
| Jake Garber | .... | special makeup effects artist (uncredited) | |
| Adruitha Lee | .... | daily hair stylist (uncredited) | |
| Christopher Allen Nelson | .... | special makeup effects artist (uncredited) | |
| Tijen Osman | .... | assistant hair stylist (uncredited) | |
| Yesim 'Shimmy' Osman | .... | assistant hair stylist (uncredited) | |
| Yoichi Art Sakamoto | .... | special makeup effects artist (uncredited) | |
| Brad Scott | .... | hair stylist (uncredited) | |
| Patrick Tatopoulos | .... | creature designer and creator: final fight sequence, Patrick Tatopoulos Designs (uncredited) | |
| Angie Wells | .... | makeup artist (uncredited) | |
| Randy Westgate | .... | key makeup artist (uncredited) | |
Art Department | |||
| Laine Abramson | .... | buyer | |
| Banner Agundez | .... | props | |
| Sharon E. Alshams | .... | lead set designer (as Sharon Alshams) | |
| Chris Alvarez | .... | welding foreman | |
| Clifton Anshanslin | .... | scenic designer | |
| Michael J. Bertolina | .... | on-set dresser: additional photography | |
| Tristan Paris Bourne | .... | set designer (as Tristan Bourne) | |
| Richard Brunton | .... | leadman | |
| Gae S. Buckley | .... | lead designer (as Gae Buckley) | |
| Timothy Burgard | .... | storyboard artist | |
| Elida Cerda | .... | construction medic | |
| David B. Clark | .... | paint gang boss | |
| Skip Crank | .... | assistant property master | |
| Gene Darnell | .... | set designer | |
| Doug Devine | .... | set dresser: reshoots | |
| David Elliott | .... | construction coordinator | |
| Eva Firshein | .... | buyer | |
| Matthew Gilbert | .... | props (as Matthew L. Gilbert) | |
| Guy Hietala | .... | set painter gang boss | |
| John Paul 'J.P.' Jones | .... | property master | |
| Richard W. Jones | .... | greens foreman (as Richard Jones) | |
| Steven Kerlagon | .... | paint supervisor | |
| Holiday Landa | .... | art department coordinator | |
| Kim Lincoln | .... | graphic designer | |
| Lyle Maves | .... | plasterer foreman | |
| Barbara Mesney | .... | lead set designer | |
| Christopher Morente | .... | greensperson | |
| Christa Munro | .... | graphic designer | |
| Happy Nakamura | .... | property assistant | |
| Kathy Orlando | .... | buyer | |
| Mark Poll | .... | lead set designer | |
| Bob Renna | .... | draper | |
| Kim Richey | .... | assistant property master: second unit/additional photography | |
| Lee Ross | .... | on-set scenic | |
| Michael Ruby | .... | supervising signwriter | |
| Alex Sessing | .... | on-set greensman | |
| Chad Simpson | .... | paint foreman | |
| Andre Sowards | .... | set dresser | |
| Shannon Spinella | .... | set dresser | |
| Robert Van Dyke | .... | propmaker gangboss | |
| Casandra Wasaff | .... | art department assistant | |
| Emily A. Wilson | .... | art department coordinator (as Emily Meyers) | |
| Jamie Callahan | .... | props (uncredited) | |
| Bryan McBrien | .... | greensman (uncredited) | |
Special Effects by | |||
| Rick Baker | .... | special makeup effects | |
| Jim Beinke | .... | werewolf fabricator, project supervisor: Rick Baker Cinovation Studios | |
| Roland Blancaflor | .... | makeup appliance department supervisor: Rick Baker/Cinovation Studio | |
| Ron Bolanowski | .... | special effects supervisor | |
| Darrell Burgess | .... | special effects technician | |
| Mark R. Byers | .... | reshoot coordinator | |
| Mark R. Byers | .... | special effects coordinator | |
| John Calpin | .... | special effects makeup | |
| John Calpin | .... | special effects technician | |
| Roy K. Cancino | .... | special effects technician (as Roy Kim Cancino) | |
| Sam Dean | .... | special effects technician | |
| Michael Duenas | .... | special effects technician | |
| Jurgen Heimann | .... | monster mechanical department (as Jurgen Hefman) | |
| Sean Kennedy | .... | special effects moldmaker | |
| Steve Koch | .... | designer/sculptor: Cinovation Studios | |
| Russell Lukich | .... | special effects makeup | |
| Steve Luport | .... | special effects technician | |
| Stephane Nicoli | .... | seamer | |
| Andy Schoneberg | .... | project supervisor: Cinovation | |
| Patrick Tatopoulos | .... | creature designer and creator: fnal fight sequence, SPFX | |
| Clark Templeman | .... | special effects foreman | |
| Patricia Urias | .... | seaming department | |
| Brian Van Dorn | .... | mold department | |
| Jenny Wallace | .... | special effects buyer | |
| Daniel Yates | .... | special effects technician (as Daniel J. Yates) | |
| George Zamora | .... | pyrotechnician | |
| George Zamora | .... | special effects foreman (as George M. Zamora) | |
Visual Effects by | |||
| Ohkba Ameziane-Hassani | .... | visual effects consultant: Mokko Studio | |
| Scott Anderson | .... | visual effects editor | |
| Chih-Jen Chang Andy | .... | digital compositor: Luma Pictures | |
| Cynthia Aragon | .... | lead rotoscope artist: SPI (as Cynthia E. Aragon) | |
| Jared Barber | .... | animator | |
| Alfredo R. Barcia | .... | lead production services technician: SPI | |
| Yakov Baytler | .... | character pipeline technical director: SPI | |
| Jill Berger | .... | senior technical director | |
| Danny Bergeron | .... | visual effects executive producer: MOKKO Studio | |
| Melissa Best | .... | 2D compositor: Frantic Films | |
| Rob Blue | .... | digital artist: SPI | |
| Jorge Bobadilla Jr. | .... | senior production services technician | |
| Jason Booth | .... | lead compositor | |
| Francois Bordez | .... | senior modeler: SPI | |
| Carole Bouchard | .... | executive producer: FX Cartel | |
| Christian Boudman | .... | digital compositor | |
| Brent Breedveld | .... | visual effects animator | |
| Jeremy Cantor | .... | animation supervisor: SPI | |
| Kyle Cassidy | .... | visual effects: Luma Pictures | |
| Oscar G. Castillo | .... | visual effects | |
| Irfan Celik | .... | technical director: The Orphanage | |
| Annie Cliche | .... | visual effects assistant: FXCartel | |
| Spencer Cook | .... | animation supervisor: SPI | |
| Etienne Daigle | .... | digital compositor | |
| Sumit Das | .... | character setup technical director: SPI (as Sumit Davis) | |
| Shane Davidson | .... | digital compositor | |
| Peter Demarest | .... | digital artist | |
| Frank D'Iorio | .... | digital compositor: Mokko Studio | |
| Roxanne Dorman | .... | visual effects editor: SPI | |
| David S. Dranitzke | .... | visual effects | |
| Conrad Dueck | .... | CGI supervisor: Frantic Films | |
| Karin Eunson-Ross | .... | visual effects producer: Frantic Films | |
| Saeed Faridzadeh | .... | digital compositor | |
| Kristen Farlow | .... | visual effects assistant coordinator: SPI | |
| Kathryn Fowler | .... | visual effects assistant: additional sequences (as Kathryn Kerr) | |
| Layne Friedman | .... | lighting td: SPI | |
| Jenny Fulle | .... | visual effects executive producer: SPI | |
| Jamison Scott Goei | .... | visual effects supervisor: Rez-Illusion | |
| Ryan Grobins | .... | digital compositor | |
| Chloe Grysole | .... | visual effects producer: FXCartel | |
| H Haden Hammond | .... | visual effects: Luma Pictures | |
| Max Harris | .... | digital compositor: SPI | |
| Kevin Tod Haug | .... | visual effects designer: additional sequences | |
| Ki Jong Hong | .... | creature technical director | |
| Richard R. Hoover | .... | visual effects supervisor | |
| Ben Houston | .... | fluids researcher: Frantic Films | |
| Kevin Hudson | .... | lead modeler: SPI | |
| Adnan Hussain | .... | hair technical director | |
| Christian Irles | .... | digital artist: Klon Films | |
| Sully Jacome-Wilkes | .... | texture artist | |
| Sarahjane Javelo | .... | digital paint/rotoscope artist | |
| Justin Johnson | .... | visual effects | |
| Bruce Jurgens | .... | CG supervisor: Luma Pictures | |
| Yun Geuk Kang | .... | senior modeler | |
| Bill Kent | .... | 2D visual effects supervisor | |
| Wendy Klein | .... | visual effects: Luma Pictures | |
| Raji Kodja | .... | digital compositor | |
| Sean Konrad | .... | digital compositor | |
| Stephen Kowalski | .... | systems architect | |
| Luis Labrador | .... | senior modeler: SPI | |
| Alain Lachance | .... | digital compositor: Mokko Studio | |
| Daniel La Chapelle | .... | digital effects artist | |
| Lea Lambert | .... | rotoscope artist: SPI | |
| Sylvain Lebeau | .... | digital artist | |
| Tom Leckie | .... | digital compositor | |
| John J.S. Lee | .... | lead production services technician: SPI | |
| Woei Lee | .... | digital compositor | |
| Jonathan Legris | .... | digital artist: Klon Films | |
| Danny Levesque | .... | digital artist: Mokko Studio | |
| Randy Link | .... | animation | |
| Francis Liu | .... | CG lookup development lead technical director: SPI (as Francis P. Liu) | |
| Kevin Manning | .... | visual effects: Luma Pictures | |
| Christopher Mapes | .... | visual effects | |
| Simon Marinof | .... | motion tracking | |
| Benoit Martel | .... | visual effect producer: FOGstudio | |
| Jean-Yves Martel | .... | executive producer: FX Cartel | |
| Artin Matousian | .... | system administrator | |
| Jason McDade | .... | previsualization: zipper sequence, SPI | |
| Paul McGhee | .... | digital color timer: SPI | |
| Leslie McMinn | .... | visual effects producer: FX Cartel | |
| Gustav Melich | .... | technical director: SPI | |
| Evangeline Monroy | .... | visual effects coordinator: SPI | |
| Glenn Morris | .... | digital effects producer: Luma Pictures | |
| Amanda Morrison | .... | lead compositor: SPI | |
| Alex Murtaza | .... | lighting artist: Frantic Films | |
| Maks Naporowski | .... | senior digital artist | |
| Ian Noe | .... | digital effects producer: Luma Pictures | |
| Natalie Nolan | .... | compositor | |
| Ethan Ormsby | .... | technical director | |
| Myrko Piche | .... | digital artist: FOGstudio | |
| Yvan Pinard | .... | digital artist | |
| Susan Polk Little | .... | tehnical director: hair pipeline (as Suzi Hammon) | |
| Jay Randall | .... | visual effects supervisor: FX Cartel | |
| Pavani Rao | .... | matchmove artist: The Orphanage | |
| Jean-Pierre Riverin | .... | digital artist: Mokko Studio | |
| Trey Roane | .... | compositor: Luma Pictures | |
| Eric Sanford | .... | modeler: SPI | |
| David Schoneveld | .... | digital compositor: Luma Pictures | |
| Vincent Serritella | .... | senior technical director | |
| Payam Shohadai | .... | digital effects supervisor: Luma Pictures | |
| Thanapoom Siripopungul | .... | visual effects artist: Luma Pictures | |
| Rob Sischy | .... | visual effects compsitor | |
| David A. Smith | .... | CG supervisor: SPI | |
| Keith W. Smith | .... | animator | |
| Kevin Andrew Smith | .... | CG lookup development lead technical director: SPI | |
| Omar Smith | .... | character setup lead technical director: SPI | |
| Diana Stulic | .... | visual effects producer: SPI (as Diana Stulic Ibanez) | |
| Allen Tracy | .... | visual effects coordinator: Frantic Films | |
| Mathieu Tremblay | .... | visual effects coordinator: Mokko Studio | |
| Dana Vanhove | .... | digital production management | |
| Martial Vincent | .... | executive producer: FX Cartel | |
| Dan Walker | .... | compositor | |
| Tamara Watts Kent | .... | visual effects producer | |
| Barry Weiss | .... | senior staff: SPI | |
| Mary Beth Worzella | .... | associate visual effects producer | |
| Mitch Zeitlin | .... | video editorial coordinator: SPI | |
| Kevin Baillie | .... | associate visual effects supervisor: The Orphanage (uncredited) | |
| Matt Broeska | .... | lead matchmove artist: Frantic Films (uncredited) | |
| Michael Duhatschek | .... | character modeler (uncredited) | |
| Trevor Hazel | .... | digital paint and rotoscope artist (uncredited) | |
| Alex Henning | .... | digital compositor: The Orphanage (uncredited) | |
| Geneviève Labelle | .... | digital compositor: Mokko Studio (uncredited) | |
| Thomas Mathai | .... | data manager (uncredited) | |
| Donny Rausch | .... | digital compositor: SPI (uncredited) | |
| Marc A. Rousseau | .... | visual effects producer: Mokko Studio (uncredited) | |
| Rosendo Salazar | .... | technical director (uncredited) | |
| Jane Sharvina | .... | compositor: Frantic Films (uncredited) | |
| George Taylor | .... | compositor (uncredited) | |
| Blair Werschler | .... | visual effects (uncredited) | |
Animation Department | |||
| Alice V. Kaiserian | .... | animator | |
| Jay Jackson | .... | animator (uncredited) | |
Casting Department | |||
| Jennifer Bender | .... | extras casting | |
| Ron Digman | .... | additional casting | |
| Lesli Gelles | .... | additional casting | |
| Jason Kennedy | .... | additional casting | |
| Mariann H.W. Lee | .... | extras casting | |
| Greg Orson | .... | additional casting | |
Costume and Wardrobe Department | |||
| Lisa A. Doyle | .... | set costumer | |
| Patrick Guzzo | .... | costumer | |
| Deborah Hall | .... | costume supervisor | |
| Lindsay McCracken | .... | set costumer | |
| Kelly Mijailovic | .... | costume supervisor | |
| Lisa D. Quercioli | .... | PR costumer | |
| Hayley Stuppel | .... | costumer | |
Editorial Department | |||
| Gary Burritt | .... | negative cutter | |
| Craig Conwell | .... | assistant editor | |
| Nathan Easterling | .... | assistant editor (as Nate Easterling) | |
| Tom Elkins | .... | assistant editor | |
| Gregg Featherman | .... | additional editor | |
| Elliot Greenberg | .... | apprentice editor | |
| Elliot Greenberg | .... | editorial production assistant | |
| Kathleen Latlip | .... | post-production coordinator | |
| Laura LeFaivre | .... | post-production coordinator | |
| Natasha Leonnet | .... | digital color timer | |
| Alexandra Leviloff | .... | assistant editor | |
| Jack Lewars | .... | assistant color timer: Efilm | |
| Jim Passon | .... | color timer | |
| Craig Updike | .... | apprentice editor | |
| Brian Young | .... | post-production assistant | |
Music Department | |||
| Bill Abbott | .... | music editor | |
| William Boston | .... | orchestrator (as Bill Boston) | |
| Ed Gerrard | .... | music supervisor | |
| Tom Hiel | .... | composer: additional music score | |
| Tom Hiel | .... | orchestrator | |
| Simon James | .... | music contractor | |
| John Kurlander | .... | scoring mixer | |
| Yvonne McDonald | .... | music clearances | |
| Denise Okimoto | .... | music editor | |
| Joe Rangel | .... | music coordinator | |
| Dennis Smith | .... | composer: additional music | |
| Dennis Smith | .... | orchestrator | |
| Randy Spendlove | .... | executive in charge of music | |
| Marcus Trumpp | .... | composer: additional music | |
| Marcus Trumpp | .... | orchestrator | |
| Richard Bronskill | .... | orchestrator (uncredited) | |
Transportation Department | |||
| Alfred Arroyo | .... | driver | |
| Charles R. Buckner | .... | driver | |
| Bruce Callahan | .... | transportation | |
| Kelly Colgan | .... | driver | |
| Bernice Culbertson | .... | transportation office coordinator | |
| Samuel Danielsen | .... | driver | |
| C. David Earle | .... | driver | |
| Steve Earle | .... | driver | |
| Suzette Earle | .... | driver | |
| John Embry | .... | driver (as John D. Embry) | |
| Richard Lengle | .... | driver | |
| Dan Marrow | .... | transportation coordinator | |
| Dick McCartney | .... | driver (as Dick Thomas McCartney) | |
| Dale Moser | .... | driver | |
| Ted Moser | .... | transportation coordinator | |
| Bill Needham | .... | driver | |
| Terry R. Owens | .... | driver | |
| Jimmy Ray Pickens | .... | driver | |
| Beverly Seifert | .... | driver | |
| Jimmy Valdes | .... | driver | |
| Mark Valdez | .... | driver | |
| Jeff Woodward | .... | driver | |
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| An American Werewolf in London | Kiss Kiss Bang Bang | Mulholland Dr. | The Howling | Chello hongmijoo ilga salinsagan |
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Ellie (Christina Ricci) and her brother Jimmy (Jesse Eisenberg) are on their way home when they get into a car accident. While trying to help the other driver out of an overturned vehicle, the other driver is attacked by what Jimmy swears was a "huge man-like wolf". Both Jimmy and Ellie end up scratched and possibly bitten by the creature. When they begin noticing strange physical effects and behavior--including both of them suddenly becoming more assertive socially--they begin to wonder if a werewolf has bitten them. If so, will they turn into werewolves, too?
Cursed had a notoriously difficult time making it to the screen. It began production in 2002, then went through four major shoots with 90% of the material being tossed out at one point. Major characters, played by major actors--including Freddie Prinze, Jr. and Skeet Ulrich--were in and out of the film. Director Wes Craven even ended up abandoning the film altogether when Dimension Films chairman Bob Weinstein demanded a PG-13 cut rather than Craven's initial R. Someone else did the final PG-13 cut. As should be expected, these events appear to have harmed the film.
As the theatrical release stands, chunks of the film appear to be missing. For example, we see Jimmy and Ellie both pretty convinced that they're werewolves shortly after Jimmy first begins researching the symptoms and Ellie thinks he's being ridiculous. The transition is not convincing; there seems to be exposition missing. There are a number of such choppy, non sequitur moments. The film doesn't flow very well.
The most obvious material to be cut--during and after "attack" scenes--surely hurt the film, as well, although part of the problem with these scenes may have been Craven's fault. Like too many recent films, attack scenes are shot blurry, cut way too fast, and they're often too dark. Part of the idea might have been to make the CGI less obvious, but I'd rather have obvious CGI than incoherent scenes.
One final flaw was that the werewolf material in the film wasn't handled very clearly. Whether this was yet another editing problem or a script problem from screenwriter Kevin Williamson is difficult to say, but the film's werewolf "rules" are never well explained. For example, it's never quite clear why the werewolf would want to attack people again and why they wouldn't just be full-fledged lycanthropes the first time. Although this makes a bit more sense later in the film, werewolf "rules" are still implied that are never explained but needed to be.
But there are a number of positive aspects to the film. Craven shows that he hasn't lost his love of postmodernist reference and theatrical "wall breaking", the performances are good, occasionally the film is suspenseful (the car crash near the beginning is especially well done), and Williamson's story overall is intriguing in that Cursed is really a somewhat traditional thriller in which characters just happen to be werewolves.
Craven opens the film at a carnival, which is obviously theatrical, and quickly presents a psychic "performer" who happens to be a "real psychic", taking her job seriously rather than just providing entertainment. The parallel is to Craven as a horror filmmaker, which may often be seen as just an entertainer instead of a "real illusionist" approaching the job with serious intentions. Then he quickly takes us to a club, Tinsel, that's a veritable Madame Tussauds with a Hollywood theme, complete with full, detailed sets. There are numerous horror references in the club, including to Craven's own work, such as A Nightmare on Elm Street (1984). This emphasizes the artificiality of cinema in a way similar to the "real film in a film" conceit of Craven's New Nightmare (1994). To push this theatrical wall breaking further, many sets, such as the interior of Jimmy and Ellie's house, are lit and shot so as to emphasize their artificiality--almost as if the film were being made on the displays at the Tinsel club. Craven also has a number of characters working in the entertainment industry, and like New Nightmare, has celebrities playing themselves. As a humorous jab at filmic self-reference and comments about his use of the same in previous films, especially Scream (1996), a pivotal scene near Cursed's false climax is shot in a very artificial-looking hall of mirrors (and this is also literally reminiscent of a number of other horror films, including The Exorcist II: The Heretic (1977), Dr. Giggles (1992) and The Haunting (1999)).
The fact that Williamson has really constructed a thriller, and it just appears to be a werewolf film, is a kind of late-film twist that provides another level of "wall breaking". It's a clever idea that has some similarities to Williamson's I Know What You Did Last Summer (1997) script, which continually flirted with the gray area between thrillers and slasher flicks. Williamson also spends time exploring the dramatic consequences of Ellie and Jimmy's newfound power.
However, given the final result, at least with the cut I watched, these more intellectual touches from Craven and Williamson may have ended up being too hip for the film, which Dimension apparently wanted to sell as a more by-the-numbers horror flick geared to pull in younger teens (and a surprising amount of pre-teens in the showing I attended). I'm not usually one to complain about the existence of PG-13 (or even tamer) horror, as I do not think that gore, language, etc. are necessary for a good film. It's not that I dislike gore, but I love the first three Universal Frankenstein films, say, as much as I love the Evil Dead series, Romero's zombie films, or any of the Texas Chainsaw Massacre films (and certainly more than I like, say, Andreas Schnaas' work, which has the gore but not much else). But when the result of studios pushing for PG-13 results in such an apparent botch-job, I have to add my voice to the protesters.