LYCANTHROPY follows Detectives Kessler (Paul Duncan) and Mills (Stephen Clark) as they attempt to solve what is believed to be a child abduction case. After chasing down “Mr. Johnson” (Daniel Knight), a child pornographer, and questioning him as best as he can, Kessler decides to take the case into his own hands.

Kessler goes rogue, leaving Mills in the dust as he seeks the answers to this mystery. Mills expresses his concern to their Superintendent, citing Kessler’s drinking, recent divorce, and wild rampant mood swings as reasons to pull Kessler off the case.  Superintendent Roberts (Jon McKenna) urges him to give Kessler one more chance, as his tactics have always worked before. What none of them realize is that his tactics are becoming newer and more dangerous, and that Mills could have to make a decision none of them could see coming. 

 LYCANTHROPY leaves a lot of the story to the viewers’ imaginations, which I think works in its (and our) favor. Without being too overt, too indiscrete, or too patronizing, LYCANTHROPY leads you to draw your own conclusions about the story being told. I’d love a full feature based on Detective Kessler and how his… lets call them “abilities”… help him solve cases. Preferably, always ending with the mutilation of abusers. Limited violence and gore leave the ugliest parts of the film up to us, which of course adds to the mood – anything we imagine is worlds worse than anything that could ever be shown.

LYCANTHROPY gives us an immensely satisfying cliffhanger ending, the kind that makes you simultaneously laugh with glee and cry out in anguish. I have spoken in many reviews about what makes a successful short film, and about the appeal of short films. LYCANTHROPY clocks in at about 15 minutes, and utilizes every one of those minutes to their fullest extent. LYCANTHROPY leaves you wanting more, wishing for another scene or more details or just a tiny bit more to be revealed – which to me is the ultimate marker of its success.

7.5/10 stars