Director – Leigh Whannell
Starring – Julia Garner, Christopher Abbott and Matilda Firth
Runtime – 103 minutes
Release date – 17th January 2025
Plot – A family at a remote farmhouse is attacked by an unseen animal, but as the night stretches on, the father begins to transform into something unrecognizable.
REVIEW:
Universal Studios made the right decision in abandoning their grandiose “Dark Universe” plans and instead handing the reins of their iconic monster collection to Blumhouse. With Leigh Whannell returning to the director’s chair after his critically acclaimed The Invisible Man (2020), Wolf Man takes a darker and more grounded approach to horror, proving once again that these characters thrive when kept close to their roots. While Wolf Man doesn’t quite reach the heights of its predecessor, it’s a bold and unsettling reimagining of a classic tale, one that embraces its horror origins rather than succumbing to blockbuster action tropes.
Whannell’s vision for Wolf Man breathes fresh life into a well-worn story, reworking the traditional werewolf mythos into a wolf-like infection that gradually consumes its host. This approach is both horrifying and refreshingly unique, allowing for moments of visceral terror as the transformation takes hold. By ditching the clichéd full moon lore, the film manages to keep the audience guessing, making the transformation feel more like a biological curse than a fantastical condition. Whannell’s direction in the first act is a masterclass in tension and dread, using shadow and sound to create a palpable sense of fear that grips you tightly.
However, the film’s momentum falters when it takes a time leap of 30 years. The story shifts its focus to Blake’s family, who barricade themselves inside a remote farmhouse as the horrors resurface. While the farmhouse setting is rife with atmospheric potential, the film sacrifices some of the suspense that made its opening act so compelling. It becomes more about survival and this isn’t necessarily a flaw, as the barricade sequences are well-executed, but it feels like a missed opportunity to continue the slow-burn terror established early on.
Julia Garner takes centre stage as Charlotte, a mother and wife caught in the crossfire of this monstrous affliction. While Garner is undeniably talented (her performances in Ozark are proof of her prowess), she feels slightly miscast in this role. Her portrayal of fear and anxiety is excellent, but her transformation into a protective matriarch doesn’t land as convincingly as it could have. It’s a performance of two halves—compelling in isolation, but less convincing in the broader context of her character arc.
The practical effects deserve immense praise, particularly during the transformation scenes. Whannell clearly understands the importance of grounding horror in tangible, visceral details, and the gruesome metamorphoses are some of the film’s standout moments. That said, the final creature design felt like it could have leaned further into the wolf-like aesthetic. While terrifying, it still retained too much of its human form, robbing the finale of an opportunity to push the boundaries of body horror.
In one standout moment, the Wolf Man finds itself caught in a bear trap, and I’m sure you can imagine what happens next. This grisly scene is a gruesome highlight that feels like a sly nod to Whannell’s horror roots. The drawn-out tension and brutal aftermath of the trap evoke memories of his work on Saw (2004) without explicitly referencing it, making it a delightfully macabre moment for fans familiar with his style.
A lingering question left unanswered adds an air of mystery that may divide audiences: who—or where—is the original Wolf Man? The opening act depicts a brutal attack on young Blake and his father, but by the time the adult Blake confronts a different Wolf Man in the finale, the fate of that original creature is never revealed. This could be an intentional move to set up a sequel, but it feels like a loose end that leaves more frustration than intrigue.
Overall, Wolf Man is a solid addition to Blumhouse’s growing monster movie repertoire, though it falls just short of the bar set by The Invisible Man. Whannell’s ability to craft tension and fear remains impressive, and the film’s bold reimagining of the source material is commendable. While it stumbles in its pacing and a few character choices, it succeeds in delivering a dark, tense horror experience that leaves audiences eager for more. With Lee Cronin (Evil Dead Rise) now set to tackle The Mummy, it’s clear that Universal’s monster legacy is in safe and capable hands.