It appears as if I’m noticing something peculiar: it seems like there has been a surge of werewolf films lately, particularly within the past few years. We’re only in January and we’ve already got one for this year – “Wolf Man“, which is actually a reboot of the 1941 horror classic “The Wolf Man” produced by Blumhouse. This new version is being directed by Leigh Whannell, who made quite an impact with his excellent work on “The Invisible Man” in 2020.
Penned by Whannell and his spouse, Corbett Tuck, “Wolf Man” offers a grisly, old-school monster movie perspective on various themes. The narrative revolves around a struggling family of three, exploring topics such as family dynamics, parenting, personal struggles, and the struggle to maintain one’s humanity. Notably (and somewhat unexpectedly), the story contains minimal mythology or folklore elements; let me delve deeper into that aspect shortly.
In this adaptation, Christopher Abbott portrays Blake Lovell, a writer and home-bound father residing in New York City with his wife Charlotte (Julia Garner) and their little girl named Ginger (Matilda Firth). Despite Blake’s overprotective nature, he shares a strong bond with Ginger. However, his marriage to Charlotte isn’t as robust due to her extensive work hours as a journalist. This dedication has not only strained her relationship with Blake but also made her feel distant from their daughter, Ginger.
One day, Blake receives news from the state of Oregon that his long-lost father, Grady (Sam Jaeger), has been legally declared deceased due to being missing for an extended period. Grady was a survivalist who lived in seclusion on a remote farmstead buried within the wilderness of Oregon. As soon as he became of age, Blake abandoned that lifestyle and had no contact with his father since then. However, now that his father’s property has been inherited by him, Blake must venture westward to gather his late father’s possessions from the old homestead.
Recognizing that they both need some quality family time, Charlotte consents to join Blake on their journey to Oregon, expecting it would strengthen their bond with her husband and daughter. However, things quickly take a turn for the worse. Within barely a mile from his father’s house, Blake veers off the road to dodge an enigmatic figure in the middle of it, leading to their moving truck colliding. Escaping the wreckage, they find themselves under attack by a ferocious creature that scratches Blake on the arm before they manage to flee into the night.
As a movie enthusiast, let me share my take on the plot: We, the family, reach Blake’s father’s house and choose to stay inside, while an unsettling presence lurks outside, seeking entry. The narrative unfolds as a chilling tale of survival during one terrifying night, aptly named “Wolf Man”. True to its title, the menacing figure is indeed a wolf-man, and it soon becomes evident that Blake has been infected by whatever contagion this beast carries. Initially, his symptoms are mild but swiftly escalate into something grotesque as he undergoes a dramatic transformation in front of our horrified eyes.
This film tells the story of the family’s struggle to endure a single night, facing dangers not only from a monster lurking outside their home but also one hidden within. While it may not be as deeply symbolic as “The Invisible Man,” there is still plenty of symbolism present in the material. Ultimately, it offers classic genre entertainment. The suspense is amplified by an appropriate amount of gore that matches the monster’s ferocious nature. Furthermore, Blake’s agonizing transformation is convincingly portrayed through the skillful use of prosthetics and makeup effects by Arjen Tuiten, the special effects designer.
In this movie, there’s no conventional lore about the Wolf Man as we know it – no full moons, no silver bullets, no beastly appearance. Instead, there’s very limited information available beyond a minimal script. The film’s approach to infection offers some advantages, but it might appear as a simplification that (for good or bad) frees up Whannell to explore other aspects. While it effectively works, a bit more historical context for such a deeply unsettling transformation would have added depth to the narrative.
In many films similar to this one, not all character decisions are logical, and some in “The Wolf Man” can be truly puzzling. Despite these inconsistencies, the family’s struggles capture our attention, thanks largely to Whannell keeping their familial ties prominent throughout. This emotional connection is further strengthened by impressive performances from Abbott, Garner, and Firth. Although much of it unfolds in the dark, the film provides breathtaking views of Oregon’s landscapes, which contribute to an environment that is both stunningly beautiful and ominously foreboding.
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2025-01-17 18:56