Wolf Man

A lot of people will go into Wolf Man with comparisons to the 1941 Lon Chaney Jr. original on the ready. For Leigh Whannell fans, threads common to his 2020 gem The Invisible Man are easier to connect.

That’s partly because his new lycanthropic adventure is not a reboot, remake, or sequel to the original film, and partly because the underlying metaphor bears a little resemblance to his last movie.

Thirty years ago, young Blake (Zac Chandler) and his frighteningly protective, militia-esque father (Sam Jaeger) go hunting in the deep, isolated, picturesque Oregon woods near their property. They find something, and it isn’t a bear.

Flash forward, and adult Blake (Christopher Abbott)—a doting father to young Ginger (Matilda Firth, named no doubt as nod to Ginger Snaps in an applause worthy move)—gets the paperwork. His dad is finally, officially considered dead. He went into the woods some years back and just never came out. Now Blake, Ginger, and Blake’s wife Charlotte (Julia Garner) need to head back to Oregon to take care of the old farm.

Abbott and Garner hold the film’s insistent metaphor in check even when Whannell’s dialog (co-written with Corbett Tuck) veers a little too close to obvious. Blake is a good man, a kind man, a loving father—could he have enough of his old man in him to mean violence to the women in his life?

Whannell’s instinct for horror set pieces and claustrophobic action wring that metaphor for all the tension it’s worth in the second act. But by Act 3, when the tortured love of a monster feels more akin to Cronenberg’s The Fly (due partly to Whannell’s writing, partly to Arjen Tuiten’s monster design), the allegory begins to crumble under its own weight.

Although many viewers may have already checked out due to that creature design.

There is a tidy little gift of thrills here, very traditionally constructed with limited complications, allowing for a bit more depth of character. But it all feels slight, and outside of some nifty bits of action, overwrought.