The idea behind these operations is to engage the historical public while at the same time widening the pool to the younger generations. Result: most of the time a hybrid product comes out, which displeases both the former (with annexed accusations of serial sacrilege and the latter. Might as well, therefore, speak only to an audience, that is to the faithful. Among other things if there's something on TV that never sets, it's the nostalgia effect. The world of entertainment has been aware of this for some time now focusing on formats that celebrate the years that were: Such and which show The best years; Arena 60, 70, 80 and 90 ; the now mythological strip Techetechetè and all the career celebrations taken as a whole, including the recent Michelle Impossible.
The series have instead re-evaluated the amarcord only relatively recently, riding the reunions. Mother of All: Friends: The Reunion . The original performers are then called up and made to discuss their characters, complete with anecdotes hosting them in one of the symbolic sets of their productions. There you have it Teen Wolf – The Movie(available on Paramount+ from February 23) could be considered the 2.0 evolution or if you prefer the were-evolution of reunions. In fact, the film does a very simple thing: it tells a story whose usefulness is, honestly, zero. It adds nothing to the narrative universe of the famous franchise but, if anything, it revives it all over again it fishes out a bad guy from the past and tells us about his revenge in exactly the ways and tones we would like.
The syntax is therefore 100% Teen Wolfstyle: it's the stuff that, from 2011 to today we've seen for 100 episodes in a row. It is therefore a projection into our serial past: not into the future and least of all into the present. Despite being set after the events of the last season, the film seems like an episode, taken at random of the many that have thrilled us. And it is in this setting that the reunion takes place one by one almost all the characters reappear (then we get to talking about that almost) and none of them has a shred of narrative arc. In fact, they do not discover who knows what truth about themselves. They don't change they don't evolve. Simply, they return to being the heroes we followed without distorting or adding anything. They celebrate themselves and the good old days: instead of the anecdotes rattled off by the performers, there are flashbacks (which is even better). In short, in short rather than in the studio or backstage, this reunion takes place within a story a useless story, of course, but decidedly more intriguing than a TV studio. From here, the choice to package a production intelligible to fans only: you enterin medias respractically immediately, without giving explanations. Anyone who follows Teen Wolf knows that.
So let's proceed: we start from Japan, where we find Liam with the Japanese-girl who is a kitsune ; then we move on to Los Angeles, where Scott (Tyler Posey) works as a dog veterinarian, also intervening in emergencies (he saves a little girl and her dog who have fallen into a pit that threatens to crush them alive), after which comes the turn of Lydia (Holland Roden), the banshee, who now does a super tech job and no longer screams, and it turns out that Derek (Tyler Hoechlin) is also there, yes, the legendary Derek, who also has a son (in a fang crisis) named Eli. The more the film progresses, the more you realize that, at the time, the cast was really huge: there are a lot of people in Beacon Hills. For some, it even takes a few minutes to make up their mind and remember who it was. But it's a moment. After half an hour, you too, the spectator, enter Teen Wolf mode and bless the screenwriters who set up this two-hour supercazzola: it's a guilty pleasure with a high action rate that redeems you from all the past remake disappointments.
The only great bitterness is the absence of Stiles: the actor Dylan O'Brien, who owes practically everything to this series, did not take part in the project. Towards the end they explain to us that Lydia left Stiles, due to a premonition that gave him up for dead: well, after the can in Teen Wolf – The film, for fans O'Brien is certainly dead. But so be it. As we said, a bad guy from the past also returns: the Deceiving Spirit, to understand the one with a fixation on riddles. His plan is almost Shakespearean: he wants to take revenge on Scott by making him suffer the pains of hell. So what does he do? He creates a deception that prompts him to resurrect Allison Argent (Crystal Reed) and then sets an abstruse scheme upon her to ensure that, this time, he dies in her arms. Again, the authors make the right move: the Scott & Allison bond accounts for three quarters of the success of the series. The rest is howls fangs claws and yellow,red,or blue eyes (depending on whether you're Beta,Alpha,or Super Cool Alpha). Among other things the return of Allison in a mad killer version restores centrality to a female figure who here,
Among the most welcome returns, that of Jackson (Colton Haynes, also star of Arrow ) stands out who represents the right sarcastic counterpoint together with the caustic Malia. On the other hand the family psychodrama between Derek and his son Eli,who is unable to transform because he faints every time he sees the fangs is somewhat perplexing. Come on the authors could have come up with better things here… Moreover Eli is the least interesting character of all (it is no coincidence that he is new and is the only one with a small evolution arc proving that the winning operation is instead only the one in a reunion key) and therefore also the open ending on his account, risks being superfluous. Moral? Teen Wolf – The Movieit's certainly not Kubrick (come on) but it exactly keeps the narrative promise it makes to the public to give the latest big toy to lovers of the most famous werewolf saga on TV. How many other titles can say that they have managed to meet the expectations of their audience low or high?
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