Shoddy character writing is to be blamed here, as the icons became mere embellishments on the background rather than focal points in every story. The actors, who obviously have the visuals and potential to effectively perform their characters, turn out lackluster. From the very first incident to the last, the events aren’t merely coerced to furnish the mystery, but are chosen specifically for the benefit of paying homage. The episodes of time displacement lack the flavor that should have worked well since the classic fictional horror and historical monsters are intrinsically iconic figures. The actors seem to struggle to deliver the banter in their most humorous way. For example, the scene where Tony finds himself lost in an alternate dimension and starts ranting with a dry delivery that ends with a sterile takeaway. Parody or not, comedy films spare no effort in establishing a farcical rhythm that plays harmoniously with the viewers. What keeps the humor misfiring is that neither the film nor its characters have a sense of comedic timing. Waxwork struggles to maintain the comedy with their hit-and-miss dialogues. And yet, the film failed to give justice to it. During the exhibit, the wax exhibitions transform into time capsules in which the viewer is drawn into the tale of the exhibit.

When a waxwork exhibition opens in town, a strange showmaster lures teens to a special midnight viewing.

The setup of the film is simple yet a good playground for teenage thrills and horror chills. Although it already fell at the first hurdle and keeps falling flat, one can find amusement in some elements overshadowed by its poor directorial choices. Waxwork, Anthony Hickox’s directorial debut, is a half-baked comedy horror film with a tedious build-up, unmemorable characters, confusing lore, and a long-overdue payoff.

Waxworks werewolf