‘Wolf Man’ Review: Christopher Abbott and Julia Garner in a Horror Redo That Satisfies but Never Soars

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If you felt that Joe Johnston’s 2010 film “The Wolfman,” featuring Benicio del Toro, was weighed down by heavy Gothic drama, intricate folklore, and excessive CGI, then the simpler narrative structure of Universal’s latest foray into the world of classic monster movies, titled “Wolf Man,” might appeal to you more. Unlike Leigh Whannell’s reinterpretation of a classic horror tale, “The Invisible Man,” this film isn’t a complete reinvention. However, it doesn’t skimp on intensity, gore, or the brutal violence that unfolds. Additionally, the script effectively focuses on a vulnerable family, quickly thrusting them into a chaotic world of lycanthropy.

The film Wolf Man predominantly takes place within the confines of an old Oregon farmhouse and barn, surrounded by dense woods, giving it a sense of confinement akin to post-COVID movies. This aspect can be both advantageous and challenging. However, Christopher Abbott and Julia Garner deliver compelling performances that intensify the fear as their characters’ troubled marriage is further strained amidst an increasing sequence of violence and cannibalism.

In this modern reinterpretation, penned by Whannell together with his wife, actress Corbett Tuck, we find a departure from many traditional elements linked to the werewolf folklore, as established in the 1941 screenplay by Curt Siodmak and starring Lon Chaney Jr. This version omits the full moon, silver bullets, fortune-tellers, and wolfsbane blooms. The narrative only lightly touches upon a mythical aspect through introductory text that hints at a hiker disappearing in Central Oregon and contracting an animal virus, known to the local Native American community as “face of the wolf.

Whannell and Tuck narrow the story’s scope to concentrate on the strained family dynamics, primarily showcasing the delicate relationship between husband Blake (Abbott) and wife Charlotte (Garner), as Blake experiences unsettling transformations. As Charlotte is compelled to act swiftly for her own safety and their daughter Ginger’s (Matilda Firth), the main events unfold throughout a chilling, foggy night – an effective choice in building suspense.

The actors manage to hold our attention throughout, despite the script having less psychological depth. Nothing comes close to the intense terror created by the depiction of domestic abuse in the remake of The Invisible Man, making it particularly chilling. Still, it’s compelling enough – falling into the mid-range rather than the top tier of Blumhouse productions. The cinematography by regular Whannell DP Stefan Duscio, with its spinning shots and disconcerting angles, adds to this, as does a disturbing soundtrack that evokes raw fear and a heart-pounding orchestral score by Benjamin Wallfisch, which can be seen as another kind of ferocious creature. Additionally, the film relies more on practical effects rather than computer-generated ones.

In the prologue, Blake’s inner struggles are introduced as we encounter him at a young age, portrayed by Zac Chandler. He is abruptly awoken for a hunting trip with his stern, military-like father Grady (Sam Jaeger), who screams about safeguarding his son, making the situation almost as terrifying as the ominous beast that seems to be pursuing them. They hastily climb a shaky treehouse, or deer blind, to conceal themselves. However, the creature remains unseen, causing a chilling sense of dread by getting disturbingly close, leaving behind an immense claw mark on the blind’s door.

Thirty years have passed, and Blake is now unemployed between writing positions. He’s married to Charlotte and resides in San Francisco, where she’s ascending in her journalism career. This leaves Blake spending more time with their precocious daughter, Ginger, than Charlotte, causing Charlotte to feel like an outsider in her own family.

When Blake learns for certain from Oregon state authorities that his long-feared and long-absent father has passed away, he proposes to Charlotte and Ginger that they all make a trip with him as he prepares to close the family farmhouse. Though Charlotte is reluctant, Blake argues that the stunning vistas near where he spent his youth might aid in mending their strained bond.

Driving at night after taking a wrong turn, Blake is jolted by an unexpected figure stepping into his headlights, causing him to swerve and collide with the rental truck. Scared by the sounds of a fierce beast and the evidence of destruction it could cause, the trio flee towards the house, barely managing to enter before the creature catches up to them. Whannell keeps the creature’s full view from us, only showing quick glimpses in the background.

Charlotte and Ginger are clearly terrified, yet their fear escalates when they notice a significant cut on Blake’s arm. Soon after, he starts exhibiting symptoms of an unsettling illness, which is evident in his eyes, skin, and teeth, as well as his heightened senses. In a suspenseful moment, what sounds to him like the heavy footsteps of a large beast scurrying across the roof turns out to be something far more difficult to comprehend.

Without any means to reach the outside world via phone, the family finds themselves stranded, taking refuge while a menacing creature lurks nearby. As Blake undergoes a gruesome physical metamorphosis in their presence, he gradually loses the capacity for speech, becoming unable to communicate or comprehend his wife and daughter. When he begins tearing large pieces from his own injured arm, their fear escalates significantly.

As Abbott portrays a troubled character, he masterfully conveys a heavy emotional burden and intense brooding, reflecting the deep scars left by a traumatic childhood. He immerses himself completely into the tormented transformation of Blake, a being part man, part beast, who grapples with his primal instincts for violence while still harboring tender memories of his family. Gradually, Abbott adds more and more prosthetics to his character, making the struggle between his bloodthirsty nature and lingering emotions even more poignant.

One overly dramatic aspect of the movie is referred to as “wolf vision” by the filmmakers. This feature enables us to perceive Charlotte and Ginger from Blake’s perspective, appearing as vague figures highlighted by a radiant glow. The appearance seems low-budget, causing one to ponder if the emerging werewolf has damaged its eyesight due to excessive exposure to poor quality video effects.

Despite some stumbles and unimpressive dialogue, the tension generally stays taut, significantly escalating once Blake’s protective nature reemerges to aid them against the initial peril. This situation brings about an unexpected disclosure that many might predict. It isn’t until this confrontation is near that Whannell offers a clear view of the monster in one of several intensified shock moments.

At first glance, Garner’s character appears to be lacking depth, but she becomes intriguing when Charlotte, who is quick-witted and resourceful, is pushed into a fight. The story subtly hints at her rekindling affection for her husband as he gradually slips away from her grasp. Firth delivers a solid performance in the familiar role of a child in danger, and she evokes emotion as Ginger grapples with the belief that the father she cherishes is somehow still within him.

Whannell draws inspiration from pre-CGI horror films of the 1980s, particularly David Cronenberg’s “The Fly” and John Carpenter’s “The Thing”. This influence is evident in the transformation scenes where Blake’s bones snap and twist, and his skeleton undergoes a change.

People who recall the jaw-dropping excitement surrounding the stunning special effects in movies like Joe Dante’s The Howling and John Landis’ An American Werewolf in London, made by the visionary effects artists Rob Bottin and Rick Baker in 1981, might think that recent versions lack novelty. (It isn’t just me who finds the terror of nuclear families a bit uninteresting.)

Nevertheless, there’s an undeniable appeal to the timeless horror stories, and Whannell skillfully taps into primal fears, making Wolf Man an enjoyable watch. Furthermore, if you’ve ever questioned whether a creature could actually amputate its own limb to free itself from a trap, your doubts will be laid to rest.

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2025-01-15 20:26