‘Wolf Man’ Review: Blumhouse’s Emo Monster Mash Is a Far Cry From Its Brilliant ‘Invisible Man’ Model

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In my perspective, it’s fascinating how all monster movies seem to fall into at least one of three captivating themes. For instance, werewolf films delve into the idea that beneath our human facade lies a primal, untamed beast yearning to break free. Vampire tales tap into an overarching fear, encompassing everything from the dread of unknown dangers like diseases to the suspicion of strangers who might be hidden threats or predators. Lastly, Frankenstein narratives caution us about the perils when we dare to assume the role of a creator, playing God by creating life and dealing with the repercussions.

In 2020, I found myself captivated by Blumhouse’s ingenious reimagining of the timeless Universal horror tale, “The Invisible Man.” This modern take brilliantly explored the aftermath of a woman’s harrowing experience in an abusive relationship with a deranged scientist, skillfully portrayed by Elisabeth Moss. Leigh Whannell masterfully directed this lean-budget chiller, which became such a box office hit that Universal hastened to revamp other titles from its classic monster library, envisioning a “Dark Universe” where these legends would be brought into the present and eventually intertwined.

Initially proposed as a Ryan Gosling-fronted reimagining of “Wolf Man,” the project’s progression eventually slowed down, resulting in a more contemplative, less frightening adaptation. Instead, Christopher Abbott takes on the lead role. After Gosling and director Derek Cianfrance departed the production, James Wannell took over as director. Interestingly, Abbott might be a more compelling choice to portray a character struggling with inner rage given his past roles in complex projects such as “James White,” “Piercing” and “Possessor.” These characters have been marked by deep-seated anger that Abbott has successfully conveyed through his intense, brooding expressions.

In the movie “Wolf Man,” character Abbott is portrayed as a good man and caring father, but he’s noticeably troubled by moments when his temper erupts. At one instance, he tenderly admits to his daughter Ginger (Matilda Firth) that he unintentionally scares her at times, confessing, “Sometimes, being a dad can make you so fearful of your children getting hurt that you end up causing the injury yourself.” This line resonates deeply with today’s more self-reflective generation of parents. However, its directness in expressing the film’s main theme might have allowed viewers to draw their own conclusions about the central message.

The screenplay, penned by both Whannell and “Insidious” author Corbett Tuck, initiates with a flashback from Blake’s childhood, three decades prior. In this idyllic mountain farmhouse setting, we see the young boy (portrayed by Zac Chandler, who convincingly embodies Abbott) under the strict tutelage of his father, Grady (Sam Jaeger). This father-son duo engages in deer hunting in woods rumored to be inhabited by werewolves. Grady imparts harsh life lessons on Blake, using survival skills as a means to extend his life, which viewers might assume will prove crucial later on, though ironically, it is Blake who is fated to transform into the beast himself.

To sum up, Grady appears too severe, while Blake seems committed to improving as a father. This leads us to understand why Blake proposes moving the Lovells to his secluded family home, where Charlotte must act swiftly in high-pressure situations. While this protective instinct might not make a strong foundation for a mainstream horror film (imperfect characters often work better), it does provide a tragic undertone that links the movie to the classic Universal monster series.

1941’s original portrayal by Lon Chaney Jr., was deeply moving and encapsulated the torment of a man, unwillingly transformed into a threat to the person he cherishes. In both movies, an act of self-sacrifice leads to a bite or scratch that metamorphoses a good man into a beast. However, the remake condenses this emotional turmoil into a solitary night, as the lunar influence takes over.

The story presents an intriguing blend of intellectual and emotional elements, yet it falls short in some aspects. While “The Invisible Man” immediately captured audiences’ attention through the creative use of psychology to heighten the danger, the outcome of “The Wolf Man” feels predictable and inevitable. The character, portrayed as a loving father, struggles with a horrifying transformation that sets him against his own family.

Regardless of its merits or flaws, every werewolf film is critiqued based on its handling of the transformation and special effects, and in this aspect, “Wolf Man” falls short. Whannell decides to take a practical approach, utilizing prosthetics and other physical effects to depict Blake’s painful metamorphosis, but leans too heavily towards realism, resulting in his infected father sweating profusely before biting into his arm with those newly grown sharp teeth.

In this movie, “The Wolf Man,” both Benicio Del Toro as Garner and Andy Serkis as Abbott deliver powerful performances that maintain the authenticity of Blake’s emotional rollercoaster, even if the film had opted for a more surreal aesthetic. Instead, the film immerses the audience into Blake’s world, switching perspectives between Charlotte’s observations of her husband’s growing ill health and Blake’s evolving viewpoint. The unsettling, almost infrared “wolf vision” and the distorted sound effects that accompany it were undeniably challenging to execute, but I found they didn’t offer anything new to Abbott’s performance. In fact, they seemed to give the film a somewhat gimmicky and slightly outdated feel.

Essentially, “Wolf Man” and “The Invisible Man” have opposite visual approaches: while viewers are always on the lookout for the invisible man in every shot, wolf man scenes work best when the werewolves are actually shown. This means that the film’s werewolves must appear more menacing, a task that falls heavily on sound designers P.K. Hooker and Will Files. Their mix of eerie sounds often blends with Benjamin Wallfisch’s dissonant score, making it hard to distinguish between the two.

Regarding frightening moments, there aren’t many surprises, as most are revealed in the movie’s trailer. To avoid revealing any additional spoilers, let me just say that “Wolf Man” places a three-member family in a secluded area, where a werewolf attempts to blow their house down, while one family member undergoes a transformation within. The confrontation between these two creatures is quite spectacle, but the rest of the film drags on and feels predictable, as Blake experiences the common tragedy found in many zombie films: watching a loved one become menacing before your eyes.

Enclosed within the wild persona, “Wolf Man” yearns to express himself – maybe touching upon the anxiety of passing on aggression or mental health issues from our ancestors – yet, his attempts only serve to make him seem pitiful instead.

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2025-01-15 20:17