Like its monstrous main character, “Wolf Man” cannot escape the feeling of a film that exists midway between two very different worlds. Those preparing for a viewing experience as visceral, intense and culturally incisive as “The Invisible Man” would do well to lower their expectations. In all honesty, both films are trying to achieve wildly different goals with completely different characters from each other. Yet even with that caveat, there’s no getting around the uncomfortable reality that a few deep-seated narrative and creative problems are holding “Wolf Man” back one turn too many.
The problems start with the casting, which is quite surprising. Christopher Abbott has firmly established himself as one of our most reliable actors, with a gifted eye for choosing the right projects. And, in this case, his ability to transform into a nervous, sweaty, but well-meaning wreck of a man is the perfect prelude to his disturbing transformation(s) later in the story. Once the Wolfman finally makes his appearance, Abbott’s physical performance is surpassed only by his deeply sad and horrified eyes peeking out from behind the monster he has become. Julia Garner also makes full use of her unrivaled presence as a performer, bringing a fragile courage that her character barely knows she possesses. Yet the dynamic between the two, upon which much of the emotional labor rests, never feels as compelling as it should be. The dialogue doesn’t do them any favors either, trapping both leads with terribly stilted and unusually direct lines that seem at odds with the rest of the picture. (After this, I never want to hear a bad word about M. Night Shyamalan’s dialogue again!)
Whannell seems almost distracted by his efforts to make us care about these protagonists, at the expense of making “Wolf Man” as terrifying as it could have been. There are a handful of effective scares and an abundance of nausea-inducing body horror to keep us on our toes, but otherwise the film relies heavily on the ominous tone and brilliant sound design – all credit to the entire sound department, as well as composer Benjamin Wallfisch’s score which frequently evokes imagery of stomping feet pursuing our heroes – to fuel the tension. Whatever one may say about it, it is a true sensory experience in every sense of the word. This extends to cinematographer Stefan Duscio’s often abstract camerawork and lighting, which works hand-in-hand with Whannell’s innovative choice to show us the world through the eyes and ears of the Wolfman during several key moments. Horror fans will appreciate the use of practical effects and careful visual effects enhancements in the various iterations of the eponymous creature design, but even that doesn’t live up to the hype.
By the time “Wolf Man” wraps things up with an ending, it’s just a bit Also neat and tidy, viewers will have to think about missed opportunities rather than daring routes taken. Fortunately, even a modest Whannell misfire is well worth the trip, especially when so much care and effort has gone into every facet of its construction. There’s still plenty of fun to be had here… as long as you don’t expect this monster’s bite to match its bark.
/Film rating: 6 out of 10
“Wolf Man” hits theaters on January 17, 2025.
