“Wolf Man” Review: Leigh Whannell’s Attempt Falls Short in Reimagining Classic Tale

Leigh Whannell’s 2020 reimagining of “The Invisible Man” successfully captivated both critics and audiences, using a popular classic Universal Monsters tale. However, Whannell’s similar attempt with “Wolf Man” falls short, being unable to reclaim the primal roots of the well-told story. Unfortunately, the film fails in several aspects, which results in it being mediocre and easy to forget. Despite its eroding plot, Whannell continues to show promise as a director, powering through with intriguing visual language and effective horror elements.

– Leigh Whannell’s film “Wolf Man” depicts a reimagined version of the classic Universal Monsters tale but falls short in capturing audience engagement, with lackluster scenes that lack emotional depth and character development.
– The storyline takes us through the journey of an adult Blake (Christopher Abbott), who heads back to his estranged father’s cabin after his passing, only to be plagued by a werewolf that scratches him, setting the stage for his transformation.
– The film’s under-lit visuals and lackluster action sequences result in what feels like a rushed production, failing to deliver any impactful thematic depth, unlike Whannell’s previous film “The Invisible Man”.

“The Invisible Man” in 2020 was a triumph for Leigh Whannel, scoring points with both critics and audiences for his fresh approach on a timeless Universal Monsters saga. Five years later, he revisits similar territory with “Wolf Man,” another revamp of a traditional monster tale. Unfortunately, this time, Wannell and his team struggle to unlock the narrative effectively, presenting a half-hearted film that disappoints on multiple facets, from its minimal lighting to limited emotional scope and shallow character development. “Wolf Man” teeters between mediocre and miserable, failing to qualify as a total disaster but lacking significantly in integral components that it soon fades from memory.

In the wake of “The Invisible Man’s” victory, Universal contemplated a variant of “Wolf Man” featuring Ryan Gosling, directed by his associate, Derek Cianfrance (“Blue Valentine,” “The Place Beyond the Pines”). The actual result emphasizes masculine roles and fatherhood themes, beginning with a father (Sam Jaeger) sharing hunter philosophy while ambling through the forest with his son, Blake. The narrative leaps forward several decades after a suspicious encounter in a deer blind, introducing us to an adult Blake (Christopher Abbott), returning to his father’s cabin after his father’s declared death.

Blake, a writer and stay-at-home dad, seems to be grappling with his marriage to his wife, Charlotte (Julia Garner) who appears elated around her coworkers but often indifferent within her family setting. One of this film’s main weak points is its lack of substantial character development, leaving a talented actress like Garner left to fend for herself, uncertain of her character’s bearings.

The movie’s misfortunes begin to unfold even before the family reaches the cabin. After a rough encounter with a wolf-like creature and a subsequent scratch from this mysterious ‘wolf’, the family finds themselves ensnared in a battle against this external threat while dealing with Blake’s impending transformation. Whannel thrives on the gruesome imagery of Blake’s change, presenting revolting scenes of body horror intended to unsettle audiences.

The visual poise of “The Invisible Man” seems amiss here, as Whannell and cinematographer Stefan Duscio frequently stumble, producing a film that irks more than it horrifies. Excessive dim lighting, geographical inconsistencies in sequences meant to increase tension, and faltering execution during key moments contribute to this. Moreover, its thematic depth is nearly non-existent, leaving discussion-worthy ideas like familial trauma and gender roles mere superficial elements in an unclear film.

“Wolf Man” lacks the visceral power, narrative innovation, or thematic depth needed to reinvent this familiar horror tale. For a movie about primal instincts, it’s disappointingly tame overall and lacks the depth needed to live up to the legacy of its predecessor.

RATING: 2 out of 5 stars.

“Wolf Man” is in theaters January 17th, 2025.

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