Several factors build anticipation for a film. Whether it’s the cast, genre, franchise, or director, the reasons why viewers feel more or less excited about a new cinematic release are endless. Personally, my expectations for Wolf Man were naturally high simply because it’s the newest movie by Leigh Whannell, the filmmaker behind Upgrade and The Invisible Man, the latter of which was one of my favorite films of its respective year. However, I couldn’t ignore the initial poor reaction, so I entered the theater with some moderation…
Wolf Man holds a script by Whannell and his wife, Corbett Tuck – better known as an actress with a “recent” role in Insidious: Chapter 3 – and is considered a reboot of the original 1941 flick, The Wolf Man. Blake (Christopher Abbott) inherits his remote childhood home in rural Oregon after his father disappears and is presumed dead. With his marriage strained, Blake convinces his wife Charlotte (Julia Garner) to visit the property with their young daughter Ginger (Matilda Firth). As the family approaches the house, they’re attacked by an animal they cannot identify. In a desperate escape, they barricade themselves inside the house while the creature prowls the perimeter…
The success of The Invisible Man is due to numerous attributes, but the intelligent, intriguing manner in which Whannell explored the concept of invisibility and empty space – through Stefan Duscio’s brilliant cinematography, who also serves as DP for Wolf Man – was undoubtedly a technical factor that elevated an already rich, complex story about domestic abuse. From the very first minute, Whannell gripped viewers with an introduction to the audiovisual concepts that dominate the film.
Wolf Man fails precisely on these two vital points. The script is shockingly superficial and hollow, while the technical elements suffer from being poorly depicted. Whannell attempts to create a disparate perspective between human and animal vision, focusing on the stark difference between what humans can (or can’t) perceive in darkness versus the total clarity of a wolf’s gaze. However, Whannell only uses this visual trick a couple of times, and the only sequence where it has a palpable impact is in the third act.
Even so, the biggest issue ends up being the excessive darkness in the night scenes. Except for the sequence mentioned above, the other supposed suspenseful moments become more frustrating than tense due to the inability to see anything. Honestly, I even began questioning whether it was a projection issue because it was impossible to discern what was happening on screen. If the intention was deliberate, it’s a risk that backfires since the justification isn’t enough to compensate for the visual confusion.
That said, the other technical departments of Wolf Man deserve much praise, especially the makeup and sound design – not to be confused with Benjamin Wallfisch’s score. Blake’s physical transformation is genuinely fascinating, an impressive collaborative effort between practical effects, visual effects, and makeup. Add to this a powerful soundscape, and the ingredients for immersive sequences are all on the table, culminating in a moment involving a spider that is arguably the movie’s best scene.
The performances by Abbott (Poor Things) and Garner (The Royal Hotel) are equally commendable. Abbott stands out with a more physical performance, leaving Garner to carry the emotional weight. The actress surprises with a more complex portrayal than initially expected. From subtler moments to more emotional interactions, Garner may very well have delivered one of the best performances of her career. As for young actress Firth (Subservience), she does her part… though, unfortunately, there isn’t much for her or her colleagues to work with.
This is an unexpected issue since, after The Invisible Man, I didn’t anticipate Wolf Man being so banal and empty. The screenplay relies on mere descriptions of events and characters without ever developing a single previously introduced point. Blake is a writer, Charlotte is a journalist. Ginger is closer to her father than her mother. The couple doesn’t seem particularly happy. And that’s it. There are no dialogues that better explain the differences in their relationships. There are no connections between plot points or continuations of previously introduced ideas – for instance, Charlotte was supposedly writing a book, but aside from that one line of dialogue, it’s never mentioned or tied into the narrative again.
There’s a brief scene where Charlotte seems more focused on work than her family, but like everything else, it’s never revisited or developed further. Wolf Man is a collection of basic descriptions that never goes beyond the surface. The family drama at the heart of the story holds thematic potential for a deeper and more thoughtful exploration of relationship issues, parenthood, balancing personal and professional lives, and even childhood traumas… but the lack of development is so glaring that the truth becomes impossible to ignore: I couldn’t care less about any of these characters.
The overall disappointment culminates in a rushed conclusion with a forced resolution that leaves numerous loose ends, and despite the beautiful final shot, the film’s emotional void prevents Wolf Man from reaching even “safe harbor.” I can’t even imagine how I’d feel if I had kept my expectations high…
Final Thoughts on Wolf Man
Wolf Man turns out to be a missed opportunity for Leigh Whannell, who fails to replicate the technical and narrative success of The Invisible Man. While it features solid performances, particularly from Julia Garner, and some technically impressive moments, the movie suffers from a shockingly superficial script, a shocking lack of emotional impact, and incomprehensible levels of darkness. It feels fragmented and hollow, failing to explore its thematic potential or create a meaningful connection with its audience. Praise is due to the makeup, sound design, and practical effects teams, but unfortunately, they aren’t enough to overcome the bleak letdown.
Rating: C-
Wolf Man is now playing in theaters.
Learn more about the film, including how to buy tickets, at the official website for the title.
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