A lowly race horse trainer, Cristobal (Miguel Angel Rodriguez), has nightmares of crawling through underground tunnels, a girl in a white gown and being bitten by something. In his miserable real life, he has to deal with the nightmare of a rich, sneering horse owner Roman (Jose Elias Moreno) who treats him like dirt any chance he gets because he is jealous of his girlfriend, Susana (Olivia Collins), engaging in idle chat with the lower classes. Adding to his troubles is the fact that he desperately wants to be with Susana, and his snobby ex, who has moved up in social circles, wants to get back together with him.
That description really doesn't do this film justice. This low-budget outing was directed by Rene Cardona III and written by veteran exploitation writer/producer/director Ruben Galindo Aguilar (credited as Ruben Galindo) the man responsible for 1973s SANTO VS. THE KILLERS FROM OTHER WORLDS, and produced Raul Galindo Ubierna (credited as Raul Galindo) who has a much smaller resume, but includes such classics as CEMETERY OF TERROR (1985) and GRAVE ROBBERS (1990), both directed by Ruben's son Ruben Galindo Jr. (aka Ruben Galindo Ubierna) Got all that? Good because I'm confused as hell. Sorting out the Galindo's is incredibly difficult, even in Spanish.
During Cristobal's meltdown after selling all of the jewels, we get a major transformation sequence at the race track, Cristobal sprouts hair, fangs and his back arches and his face pushes out. Sound familiar? Yep, it's like Rick Baker on a budget, sort of a MEXICAN WEREWOLF IN... err.. MEXICO! The movie is just like AMERICAN WEREWOLF IN LONDON (1981), aside from the lack of Nazis, nurses, porno theaters, and sarcastic walking dead. Oh, and no exotic local, or soft-drink spokesperson. Ok, actually it's nothing like AMERICAN WEREWOLF aside from a few key elements. When Cristobal starts really going nutso and slaughtering people in the stables, he wakes up naked, no not in a zoo with a bunch of live animals, but in a stable with a horse that ripped apart. Another tip of the hat comes when Susana, who is realizing that something strange is going on, finds Cristobal's clothes on the floor with some strange goo, ala CAT PEOPLE (1982). There's also a bit of JAWS (1975), when Roman tells the police chief that he will hunt the animal for a fee. If the plot had been a carbon copy of one or the other, I would have probably enjoyed it anyway, but as it was, I think you might be able to legitimately call that an hommage. Or maybe that's bullshit and it was just a bit of plagerism. Either way, it's a hell of a lot of fun.
Cardona III was born too late to get the world-wide exposure that his grandfather and father benefited from during the '70s and even the '80s when the English speaking theatrical market was far more interested in distributing culturally diverse cinema. It's a far cry from these days where the only foreign film you are likely to see in a US cinema is a Michael Bay film that has been partially financed by the Chinese. It's a shame too, because with some solid backing, I'd love to see what he could do for the same $10 million that AMERICAN WEREWOLF cost.