Dwarfed on its initial run by An American Werewolf In London's arrival a few months later, Joe Dante's seminal creature-feature is actually more than its equal.
Back in 1981, everyone wondered who had the better transformation sequence. (Since you ask, Rob Bottin's smoke-and-mirrors are destroyed by Rick Baker's Werewolf FX.) But the real delight here is John Sayles' script: smart and packed with jokes. The climax is great, too - not even Patrick Macnee can balls it up.