Let's be realistic.

Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.

Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

There are hopefully very few occasions one might feel the urge to flee the theatre long before the closing credits roll. With AN AMERICAN WEREWOLF IN PARIS however, your chances of experiencing this are better than average.In making a follow-up to a wonderful and respected classic like it's predecessor, the makers of this had to realise that they had signed on to meet certain standards and expectations. Right from the unnecessary and absurd Eiffel Tower sequence early on, it seems clear that the very mentality of this film is way, way off. Whilst I laughed at the humour in the original, here I cringed at the many embarrassing efforts of AWIP to generate laughs. Equally, I was left cold by it's failure to offer a single scare to speak of.Elsewhere, utterly mindless (and arguably tasteless) sequences by Jim Morrison's grave at Pere Lachaisse among others, seem more preoccupied showcasing some of Paris' famed locations than furthering the story in any meaningful way - a far cry from the Piccadilly Circus and Trafalgar Square set-pieces in the original.The lead characters seem to epitomise the very cliched definition of annoying American tourists seen through the eyes of the rest of the world and this misrepresentation makes it difficult to take from them anything like the appeal found in David Naughton and Griffin Dunne in the 1981 original. It might be unfair to measure this movie by comparison to the original but there is little doubt that there would still lie within, the same complaints with AWIP even if judged purely on it's own merits as they are so glaringly evident.Enough has already been said about the awful CGI werewolf FX and this stands true - again - even without comparison to Rick Baker's extraordinary practical transformation wizardry 17 years earlier. Quite literally, between the story, characters, performances, digital disasters and half-witted humour, I felt - within the first five minutes - a sinking sensation in my stomach that created a knot which sat there and left me numb with disbelief long after the merciful arrival of the end credits. Only Delpy's presence brought any kind of relief in the interim.

The daughter of the werewolf from the London based movie, is living in Paris where her mother and stepfather are trying to overcome her lycanthropic disease.Three American tourists on a trip around Europe manage to stop her from plunging to her death from the top of the Eiffel tower and become embroiled in a plot involving a secret society of werewolves based in the city.But these are using a drug which allows them to change at any time so there's no need for a full moon...Another year, another pointless sequel, and this time they go on a Eurotrip.From the upstart, it looks very dodgy, and the humour is more than forced in this sequel. The makers try and connect the film with Julie Delpy, but this just adds insult to the first movie.Scott is a poor lead, and never convinces, and talking about convincing, the CGI is some of the worse I have ever seen. If you think the CGI in spawn was bad, the wolves in this are beyond ridiculous, and detract any sort of tension the movie may have had.The first film is homaged a little with the dream within a dream sequence, but again, it's handled poorly.Stick with the first movie, it's a classic, and there's no bungee jumping in sight..

I only wish there was a 0/10 option. It is difficult to comprehend just how bad this movie was. Not merely bad as a sequel to a classic - just plain bad.The actors have zero charisma. Tom Everett Scott has thankfully faded into obscurity and Julie Delpy...well, she must have improved as she has forged a successful career in European art-house romantic dramas.The transformation scenes are just...just so bad. Again, not even comparing them to Rick Bakers masterpiece, just to any werewolf movie. The Wolfman (1941) had a better transformation.The CGI werewolves look about half as scary as Sully in Monsters Inc.The plot and screenplay is lazy. It takes about half of the ideas from the original and redoes them - badly. The rest of the plot was, I would have to guess, written by someone who really hated his job.The comedy - the only stuff that works is the idea lifted from 'London' - namely the victims haunting the werewolf.The scares - um, someone forgot to add them into the movie. The scariest thing is that this abomination saw the light of day.Sequel elements - The love interest is the daughter of David and Alex from the first movie (Alex played in this movie by someone other than Jenny Agutter).In trying to steer others away from this garbage, I feel I have balanced out all of the bad things I have ever done in my 36 years.In closing, I would rather get a prostate exam from Freddy Krueger than have to sit through this steaming pile ever again.

When is a sequel not really a sequel but still sucks like one? That would be when you take a minor horror classic like An American Werewolf in London and, 16 years later, remake it as a lame action-comedy called An American Werewolf in Paris. Truly, this is the sort of flick that leaves you in awe of how good the drugs must be out in Hollywood. Getting John Landis to do a sequel to his original 4 later? Anybody could come up with that idea. How doped out of your mind do you have to be to wait another 12 years and think of doing it without Landis? How does that suggestion even get out of your mouth before someone else interrupts with "That's stupid"?Andy McDermott (Tom Everett Scott) is a young man who, along with his nerdy friend Brad (Vince Vieluf) and his jock buddy Chris (Phil Buckman), has embarked on a "daredevil tour" of Europe. Andy is the sort of guy who believes in love rather than sex, which makes him just the sort of romantic to fall for a girl who tries to kill herself by jumping off the Eiffel Tower. Andy saves her by bungee jumping after her (don't ask), only to wind up in the hospital with the one of the least medically-credible bandaged heads in cinema history. Andy and his friends track the girl down after she vanishes, only to discover that she's a werewolf and she's got some lycanthropic associates of her own, one of whom is the American-hating Claude (Pierre Cosso). Andy gets bit and becomes a werewolf, only to find that he's got to stop Claude and his gang from using a drug to transform into werewolves at will and massacring a bunch of boozed up Yanks.The first hour of so of An American Werewolf in Paris cycles through most of the same stuff as the superior first film, playing everything much more for laughs than anything else, and then the last half hour turns into some terrible buddy-cop comedy. Now dated CGI substitutes for the more shocking physical special effects of the original and the whole "haunted by the spirits of the dead" thing becomes a running gag. Julie Delpy does briefly take off her top, but Julie Bowen does not.The most descriptive comparison I can come up with is that, as An American Werewolf in London is to The Wolfman, An American Werewolf in Paris is to Abbot and Costello meet The Wolfman. There's about one honestly scary/unsettling scene in the entire motion picture and the rest of it is devoted to cheap jokes and dull humor, without anyone even close to as talented as either Abbot or Costello. Not that Tom Everett Scott or Julie Delpy are all that bad. They're simply stuck in an ill-conceived script helmed by a director who wants more to be funny than frightening, even though he's clearly better at the latter. By which I mean there are more moments intended to be scary that are staged effectively, but almost all of them are defanged by Anthony Waller's comedic emphasis.This movie is just not good at all. I hope the Hollywood drug culture has calmed down enough so we aren't subjected to An American Werewolf in Budapest in 2013.