Wolf Man Review: Leigh Whannell’s 2025 Horror Reboot Could Use More Bite

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The newly released “Wolf Man” sits comfortably within an acceptable range for a January Blumhouse horror movie, but given the entertainment provided by ‘M3GAN’, it could have been even more engaging. Remarkably, this film is the second R-rated reboot of a classic Universal Monster directed by Leigh Whannell after “The Invisible Man” in 2020. Unlike its predecessor that effectively combined jump scares with a deep exploration of gaslighting and abusive relationships, “Wolf Man” offers compelling instances of slow-building body horror but lacks the narrative and thematic consistency displayed by ‘The Invisible Man’.

In a straightforward approach, let me rephrase the given text:

The first act clearly sets up that the movie delves into themes of parenting and intergenerational trauma. The protagonist, Blake (Christopher Abbott), is visiting his late father’s house, where he harbors intricate emotions. He is striving to be a better father to his daughter Ginger (Matilda Firth), given that his career-driven wife Charlotte (Julia Garner) doubts her own parenting abilities. However, Blake is cautious about his overprotective nature as a parent, recognizing it could potentially become its own problem. The script by Whannell and Corbett Tuck is quite explicit in addressing these themes; fortunately, since most of the film’s dialogues involve explaining these ideas to an 8-year-old girl, being direct isn’t necessarily unrealistic. Nevertheless, the tendency for explanation over demonstration, and the lack of creativity or fulfilling resolution when the movie transitions into action sequences in the third act, might contribute to why this “Wolf Man” doesn’t deliver the emotional resonance you’d expect.

The writer of Saw knows how to make you squirm

As a gamer, I must admit that when I first saw the new Wolf Man design unveiled at Universal Studios, it wasn’t exactly what I hoped for. However, fear not, as the creature in the movie looks far superior to the off-model rubber mask version. That park reveal, though, sets quite a grim expectation – this time around, we’re not getting the “cool” or “fun” werewolf. Instead, the makeup effects skew more towards the human side, and the ‘wolf’ form is intentionally repulsive. To put it in perspective, this new Wolf Man feels closer to Christopher Abbott’s portrayal to the classic Lon Cheney and Benicio Del Toro versions, much like Bill Skarsgård’s Count Orlock in “Nosferatu” stands apart from Bela Lugosi and Christopher Lee’s Dracula.

Essentially, Leigh Whannell’s “Wolf Man” could be seen as not a rehash of previous “Wolf Man” films, but rather a grisly reinterpretation of David Cronenberg’s 1986 “The Fly,” with the monstrous transformation being a gradual, agonizing process instead of a full-moon triggered event. This transformation serves to progressively distance the character, Blake, from his human self, while mirroring the deeply human struggle against disease. The actor delivers a compelling performance despite heavy prosthetics, and the body horror reaches new heights of nauseating intensity with top-notch gore effects. A word of caution for the squeamish, and a tantalizing prospect for the hardcore: autocannibalism. Two more words hinting at a “Saw” connection, given Whannell’s involvement in the original trilogy: “Saw” reference.

It’s not the gruesome aspects that make the movie most chilling, but rather the moments when the story switches to Blake’s personal viewpoint as he undergoes his transformation. During conversations with Charlotte and Ginger, he can no longer comprehend their words – yet his human intellect yearns to connect with his family. This leaves him feeling powerless and confined by this curse of incomprehension. The recurring “wolf-vision” is a powerful, unsettling idea that remains impactful throughout the film, avoiding becoming overly familiar.

The final act underwhelms

Following the initial setup and character development in the first two acts, “Wolf Man” enters its high-stakes third act. However, despite the intense action sequences involving the creature and the escalating familial conflicts, there’s a sense that something is missing, as if the movie isn’t quite living up to its potential. Although the monster storyline ties back into the family narrative, the resolution doesn’t deliver the same level of impact as a truly satisfying twist or revelation would.

Firstly, the connection is so evident that it’s not really surprising (try guessing who the Wolf Man was that bit Blake, but your first two guesses don’t matter). However, the main issue lies in the lack of depth in the revelation. There’s no exploration of the significant symbolism, no complexities about a human transforming into a monster, just a straightforward presentation that feels like an unfunny auto-insurance commercial. The concerns about replicating past mistakes don’t stem from poor choices or deep character motivations, but simply because… when your past is a werewolf, that’s what happens.

This film titled “Wolf Man” doesn’t have much to talk about as it doesn’t offer a lot in terms of content. It touches upon deep-seated fears related to parenthood, yet lacks depth and sophistication to create a lasting intellectual impact or generate strong emotional resonance. Even the moments that should be impactful feel underwhelming. However, it manages to secure a passing grade due to its ability to scare effectively and maintain a pace that heightens fear without leading to boredom. Unfortunately, it’s unfortunate that it doesn’t reach its full potential, unlike “The Invisible Man.

“Wolf Man” opens in theaters on January 17.

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2025-01-15 20:29