Movies
Max Landis Talks ‘An American Werewolf in London’ Remake; Original Cast Cameos?
It has always been inevitable that John Landis’ An American Werewolf in London was going to find itself on the remake chopping block, so John’s son Max Landis decided to take matters into his own hands and spearhead the project.
As we told you earlier this year, Landis wrote a script that he hopes to direct.
Speaking with Fandom at NYCC this past weekend, Landis teased that the remake, which isn’t yet a sure thing, may feature cameos that’ll surely make you smile.
“Griffin Dunne… what about Jenny Agutter? Come on, Jenny’s killing it right now. She was in Captain America: The Winter Soldier. It made me so excited! Yeah, there’s cameos from ideally literally everyone,” Landis said of his script.
“There’s no guarantee that movie will exist but I’m very excited about it,” Landis added. “I’m not here to remake American Werewolf in London into something it isn’t, I want to do everything from the original movie modern, and that’s it. I mean, not Gus Van Sant’s Psycho. There will be my stuff in there, but if it exists I hope it’s good.”
“I’m going to do my best to make it great.“
Filming is underway on The Invisible Man director Leigh Whannell’s Wolf Man for Universal and Blumhouse, which will be howling its way into theaters on January 17, 2025.
Deadline reports that Matilda Firth (Disenchanted) is the latest actor to sign on, joining Christopher Abbott (Poor Things), Julia Garner (The Royal Hotel), and Sam Jaeger.
The project will mark Whannell’s second monster movie and fourth directing collaboration with Blumhouse Productions (The Invisible Man, Upgrade, Insidious: Chapter 3).
Wolf Man stars Christopher Abbott as a man whose family is being terrorized by a lethal predator.
Writers include Whannell & Corbett Tuck as well as Lauren Schuker Blum & Rebecca Angelo.
Jason Blum is producing the film. Ryan Gosling, Ken Kao, Bea Sequeira, Mel Turner and Whannell are executive producers. Wolf Man is a Blumhouse and Motel Movies production.
In the wake of the failed Dark Universe, Leigh Whannell’s The Invisible Man has been the only real success story for the Universal Monsters brand, which has been struggling with recent box office flops including the comedic Renfield and period horror movie The Last Voyage of the Demeter. Giving him the keys to the castle once more seems like a wise idea, to say the least.
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