After delivering an incredibly terrifying and intriguing modern take on The Invisible Man back in 2020, the anticipation among horror fans to see writer/director Leigh Whannell take on The Wolfman was high. However, while the horror juices definitely flow throughout, Wolfman isn’t as finely tuned on a story or character front. 

The film follows a family who’s held up in a secluded house by a mysterious creature as their patriarch Blake (Christopher Abbott) slowly transforms into a beast of his own. Now, bringing the lore and iconography of The Wolfman, one of the most beloved and classic horror monsters of all-time, into modern day isn’t an easy task. But, Whannell and co-writer Corbett Tuck utilize the film’s setting and more natural components to build uniquely fascinating lore for the “Wolfman” character. Right from the opening flashback to Blake’s childhood of hunting with his father (Sam Jaeger), it’s hard not to love the film’s Oregon wilderness setting. The thick, endless-feeling forests are inherently creepy and help evoke the animalistic nature of the titular monster. It’s so unsettling to see the Wolfman run around this landscape and those early, distant glimpses of it instill chills. Whannell does such a great job making Blake’s childhood home feel trapped within these woods, creating deeper feelings of helplessness when this family becomes prey. 

Plus, it’s such a smart choice to make the passing of the Wolfman “curse” more like a disease being transmitted. The opening text mixes mysticism and rustic realism incredibly well and sets a fairly daunting tone that drips throughout. More importantly, the disease focus influences the body horror Whannell cooks up. It’s amazing how Blake’s transformation is as mental as it is physical. The scenes of him gaining this new level of sensory awareness is incredibly creepy and the way he becomes detached from reality is actually kind of heartbreaking. You literally watched him become forcefully ripped away from his grasp with humanity and Whannell immerses viewers deep into his perspective of becoming this almost otherworldly beast. What’s really brutal though is how Whannell captures the physical transformation that transpires.

While things start small with Blake losing teeth or hair, there’s some gnarly moments that’ll have viewers squirming. From Blake’s insatiable gnawing into his skin that’s almost like he’s trying to pull it away to the gruesome way he escapes a bear trap, Whannell holds nothing back in creating a bloodier, more grotesque depiction of The Wolfman. The final transformation is definitely one of the most memorable of the film as it emphasizes the practical backbone this film has for its horror. Sure, hardcore fans of The Wolfman character might be disappointed by the creature’s more man than wolf design because, well, it just doesn’t have the same chilling effect. But it’s hard to hate what Whannell crafts in terms of bloody horror. Now, you do end up wishing the film was a little scarier or more suspenseful because it’s definitely an area where Whannell’s direction takes a bizarre step back. Although he does a good job placing The Wolfman in the background for some surprises, Wolfman just isn’t all that scary and feels unsatisfying at times. Given how daunting and terrifying The Invisible Man was, it’s disappointing to see Whannell’s approach take a step backwards here. 

It’s also a shame that the story he and Tuck write isn’t all that great either. The biggest issue with Wolfman is that it’s often consumed by thin melodrama. While it tries to make you interested in the frayed dynamics of this family, there’s no depth to really make an impact or keep your attention. Blake and his wife Charlotte’s (Julia Garner) struggles to get their daughter to love them equally has no real sense of stakes or emotion within it for anyone to care about. It just feels like a plot constructed solely to have something happen within Blake’s transformation. Frankly too, it’s tough to connect with any of these characters because the performances struggle to rise above the surface due to the awkward dialogue. Overall, everyone performs well with Abbott standing out for him slowly elevating this grisly transformation within Blake. However, there are a lot of awkward strings of conversation that take you out of the moment. For instance, every time Blake tries to calm his daughter Ginger (Matilda Firth), the lines are weirdly delivered and full of forced emotion. The way these characters talk to each other is strained and there’s almost no real chemistry between the cast. It’s what makes it so tough to stay engaged when the film isn’t focused on Blake turning into this monster, and why it struggles to create an emotional connection where scares can land. 

Whannell sews in some unforgettable lore and gore to really make Wolfman a fresh modern return for the iconic monster, but forgets to bring a worthwhile narrative or scares in the process. With Whannell establishing this great reputation for himself with Upgrade and The Invisible Man, Wolfman is straight-up underwhelming when it’s not letting its bloody goods drive the experience. It’s not a terrible watch by any means, especially those looking for a solid werewolf movie on Halloween, but misses out on a lot of potential to be more.

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