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User Reviews for: Wolf Man

heyflp
4/10  a month ago
Leigh Whannell returns to Universal’s classic monster universe with “Wolf Man”, trying to bring back the primal roots of this iconic horror figure. However, unlike his acclaimed “The Invisible Man” (2020), where he successfully reinvented the concept with a modern approach packed with social commentary, here he delivers a film that feels stuck between intention and execution. “Wolf Man” is a horror thriller that never fully allows itself to be truly scary or engaging enough, resulting in a lukewarm experience that fades from memory as quickly as it appeared.

The story follows Blake (Christopher Abbott), a writer and struggling father who returns to his late father’s cabin after years of estrangement. Accompanied by his wife Charlotte (Julia Garner) and daughter Ginger (Matilda Firth), he soon finds himself confronted by a mysterious wolf attack that triggers his inevitable transformation. The narrative structure, though simple and straightforward, lacks emotional depth, mainly due to Whannell and Corbett Tuck’s screenplay, which fails to fully develop its characters. The relationship between Blake and Charlotte, for instance, never moves beyond the clichés of a marriage in crisis, and Garner, a talented actress, seems lost in a shallow role that doesn’t allow her to explore any real nuance.

Visually, “Wolf Man” tries to emulate the oppressive atmosphere of “The Invisible Man”, but falls short in execution. The cinematography leans too heavily on excessively dark lighting, which, instead of building suspense, results in confusing and frustrating sequences. The gloomy cabin and forest setting is a tired genre trope that could have been elevated with more inventive production design, but the film settles for merely hinting at dangers without ever truly building them convincingly.

Where Whannell still shows some of his signature flair is in the transformation sequences of Blake, embracing body horror with falling nails, shifting teeth, and a gradual physical deterioration of the protagonist. These moments are visually striking and serve as a reminder of the director’s knack for creating visceral discomfort, something that stood out in his previous work. However, these scenes are too few and far between, leaving the film with a sluggish pace and little real tension.

Another major issue is the lack of a clear thematic approach. “The Invisible Man” tackled abuse and trauma with a sharpness that elevated the horror into powerful social commentary. In “Wolf Man”, there are hints of broken family dynamics, inherited trauma, and the struggle against primal urges, but everything is handled so superficially that it never truly lands. The ideas are merely suggested but never developed in a meaningful way.

The action sequences also fall flat. A werewolf showdown, which should have been the film’s visual highlight, is so poorly edited and choreographed that it completely loses its impact. The rapid cuts and shaky camera work end up hiding more than they reveal, making the experience more frustrating than thrilling.

Overall, “Wolf Man” feels more like a film made out of obligation than passion. Whannell’s competent direction and a few solid visual ideas aren’t enough to overcome a shallow script and an execution that never quite finds the right tone. It’s not a total disaster, but it doesn’t offer anything memorable either, ultimately feeling like a missed opportunity to breathe new life into one of horror cinema’s most iconic monsters.
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