Horror Gives Way to Drama in “The Beast Within”

The Beast Within (Alexander J. Farrell, 2024) 2½ out of 5 stars

Director Alexander Farrell’s latest film gives a new spin to a popular horror trope, updating the classic concept of lycanthropy and giving it a dramatic, intimate tone. The Beast Within introduces Kit Harington (Eternals) as a husband and father by day, but something much more monstrous by night. When his daughter (Caoilinn Springall, The Midnight Sky) starts to realize why dad is staying out late and coming home naked and covered in mud and blood, she figures out that her secluded family, including her mom (Ashleigh Cummings, The Goldfinch) and grandpa (James Cosmo, My Sailor, My Love), may be in terrible danger. Still, the family sticks together, and according to Dad, “nothing changes” at home.

Farrell (Refugee) has a fascinating, minimalist approach to the werewolf lore, focusing on character building. The Beast Within very much works with subtlety, choosing to imply horror and monstrosity with cinematography and sound design to bring intense sequences. Farrell makes trains the lens on Springall, as the story centers on the daughter and her perspective. Be it an artistic choice or budgetary constraint, The Beast Within fully embraces its dramatic nature through its step-by-step dialogue and adequate performances. What is most unique about this particular werewolf movie is how Harington’s character not only has a physical wolf transformation (at some point …), but also a mental and emotional battle, becoming the root of a domestic-abuse theme that permeates the narrative.

Sadly, The Beast Within spends the first two-thirds of the film building suspense and tension, all the while weighing the story down with heavy dramatic sequences and writing. It promises to move towards a terrifying conclusion, yet by the time we get to the final showdown, the audience has already sat through monotonous scenes, many of which are redundant, and it becomes clear that Farrell is dodging having to show the viewer a werewolf or bring any real terror that is promised by the premise. By the end, the effects needed to sell the werewolf gimmick come across as merely campy in nature.

While I respect the creative angle, and the idea of using less to make more, Farrell reaches the edge of boredom by taking this approach too far, with—in addition—a script that is mediocre. Fans of Kit Harington may tune in to find an edgier father figure, other viewers may be turned off, and the anticipated bestial showdown is decidedly anticlimactic. Moreover, the theme of domestic abuse becomes very take-it or leave-it, leaving either more to be desired or for it to be left out of the movie altogether. Overall, The Beast Within promises an intense horror story but falls short of execution.

Adam Vaughn

Adam Vaughn is a graduate of the Film & Moving Image program at Stevenson University, with a focus in Cinematography and Production. He also has a minor in Theater and Media Performance. Adam works as a freelance photographer and videographer, focusing his craft on creating compelling photographic and cinematic imagery. Adam is excited to join the Film Festival Today team and explore the world of cinema and visual arts.