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Wolf Man review: Julia Garner’s horror reboot is stylish but lacks some bite

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Leigh Whannell’s film “The Invisible Man” was so impressive that it came incredibly close to erasing memories of the Dark Universe, Universal’s unsuccessful attempt at resurrecting their classic monsters into a shared universe. Regrettably, this endeavor only lasted for a single movie, “The Mummy”.

Now, Whannell returns with a fresh take on another independent resurrection of a Universal Monster icon – “The Wolf Man“. Earlier plans included Ryan Gosling as the star and Derek Cianfrance directing, but the final product hitting cinemas will be under Whannell’s direction and led by Christopher Abbott.

Similar to “The Invisible Man”, Whannell and his collaborator Corbett Tuck have crafted a fresh, realistic interpretation of the traditional monster narrative. Instead of emphasizing the extraordinary aspects, they present the creature as a heart-wrenching affliction rather than a supernatural element.

Although not quite as impactful or iconic as his earlier film, “Wolf Man” remains an enjoyable horror choice to begin the new year.

To save their marriage, Blake and Charlotte (portrayed by the captivating Christopher Abbott and Julia Garner), along with their daughter Ginger (Matilda Firth), plan a journey to Blake’s hometown in picturesque rural Oregon.

Years back, Blake’s dad vanished in the wilderness and was subsequently pronounced deceased legally. Therefore, one might expect some warning signs to sound off. Indeed, as soon as they set foot there, they were ambushed by a hidden creature lurking within the woods.

After narrowly avoiding a fatal collision that left Blake, their sole neighbor, apparently dead, Charlotte, Ginger, and Blake somehow reached home and fortified themselves within. However, as Blake grew increasingly peculiar, it struck Charlotte that instead of being safe, they might have sealed themselves inside with the true peril.

Unlike the 2010 film featuring Benicio Del Toro, “Wolf Man” is not so much a straight-up remake as a fresh take or reinterpretation of the werewolf lore that was first introduced in the 1941 movie. This new version offers a more confined, personal narrative about werewolves, with its focus on just one location and only three characters throughout most of its duration.

The movie delves into the heart-rending human predicament where a pair striving to mend their communication problems find themselves unexpectedly unable to communicate verbally. Whannell portrays the werewolf in this instance as a metaphorical disease, with Charlotte gradually losing Blake before her eyes. The close-up shots intensify the emotional impact of the climactic scene.

As a devoted fan, I must confess that while “Wolf Man” offers an engaging experience, it falls short in delivering the heart-pounding terror that I crave. It does include some gruesome scenes, such as a chilling reference to one of the most memorable moments from “Saw”, and the transformation process is quite distressing, with nail-biting instances involving nails and teeth. However, despite these elements, it doesn’t manage to instill the deep-rooted fear that I had hoped for.

The change in appearance may spark debates among viewers. This transformation is mainly created with stunning prosthetics to make Blake recognizable despite his advanced stage and deviate from the typical werewolf style. While it fits well within the movie, it might displease traditional werewolf fans.

The outstanding way visual storytelling is employed deserves recognition. It effectively immerses viewers into Blake’s viewpoint as he undergoes transformation. Subtle changes in sound effects and lighting illustrate how Blake’s senses heighten, with scenes switching between his perspective and Charlotte’s to underscore the contrast.

Whannell deliberately adopts a fresh and fashionable method, incorporating dialogue shifts to emphasize Blake’s solitude. His aim is to evoke sympathy for this unique werewolf character, even if it means sacrificing a fear-inducing climax. Instead, the result is a moving conclusion.

Perhaps you’re hoping for a stronger portrayal of the “Wolf Man,” but it may spark your interest in wanting Leigh Whannell to animate another Universal Monster instead.

Wolf Man is released in cinemas on January 17.

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2025-01-15 20:18

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