Bad Moon is a 1996 horror thriller directed by Eric Red, based on the novel Thor by Wayne Smith. Told from a perspective rare in horror cinema — that of a loyal family dog — the film explores the terror of transformation, the bond between humans and animals, and the instinctive battle between love and primal evil.

The story begins with Ted Harrison (Michael Paré), a nature photographer who survives a brutal werewolf attack while on assignment in Nepal. His girlfriend is killed during the encounter, and though Ted escapes, he returns home deeply changed — hiding a monstrous secret beneath his skin. Seeking solace, he visits his sister Janet (Mariel Hemingway) and her young son Brett at their quiet home in the Pacific Northwest. But their German Shepherd, Thor, senses immediately that something is wrong.

As nights pass, Thor grows increasingly protective and suspicious of Ted. The dog’s instincts are sharper than any human understanding — he can smell the beast lurking within his owner’s brother. Meanwhile, Ted struggles against his curse, trying to suppress the werewolf that awakens with every full moon. His love for his family clashes with his growing loss of control, leading to escalating tension and dread as the line between man and monster begins to vanish.

What makes Bad Moon stand out among werewolf films is its unique emotional center: the story of a dog’s loyalty. Thor isn’t just a pet — he’s the family’s silent guardian, a moral compass that recognizes evil even when the humans do not. The relationship between the boy, his mother, and the animal becomes the heart of the film, grounding the supernatural horror in themes of devotion, protection, and sacrifice.

The movie blends traditional werewolf mythology with domestic drama. Director Eric Red builds suspense through atmosphere rather than excessive gore, using quiet moments — the stillness of the woods, the creak of a door, the sound of distant howling — to create an aura of impending violence. When transformation scenes occur, they are visceral and practical, relying on physical effects that emphasize the grotesque power of the beast.

Michael Paré gives a sympathetic yet tormented performance as Ted, a man consumed by guilt and fear of what he might become. Mariel Hemingway’s Janet adds emotional weight to the story, portraying both love for her brother and rising terror as she begins to suspect the truth. But it’s Thor, the dog, who steals the film — his performance, captured through expressive direction and editing, conveys an almost human determination to protect his family from the darkness.

Thematically, Bad Moon explores instinct, family, and the duality of man and beast. It suggests that evil is not only external but also something that must be recognized and resisted within oneself. The contrast between Ted’s corruption and Thor’s unwavering loyalty serves as an allegory for purity of instinct versus the frailty of human morality.

The climax delivers a tense and emotional showdown between man and animal, where the roles of hero and monster are reversed in a way that challenges traditional horror expectations. By the end, Bad Moon becomes not just a werewolf story, but a tale about love, courage, and the lengths one will go to protect family — even if that protector walks on four legs.