Whannell’s Wolf Man: A Howl of a Miss
Leigh Whannell, known for his masterful reimagining of horror in his critically acclaimed 2020 film The Invisible Man, returns to the director’s chair after a five-year hiatus with Wolf Man. This latest project attempts to breathe new life into one of Universal Studios’ most iconic monsters, yet it ultimately fails to capture the audience’s imagination. The film, while ambitious in its goal to reinterpret the wolfman mythos, struggles to navigate the delicate balance between homage and innovation, leading to a narrative that feels both familiar and uninspired.
The werewolf genre boasts several masterworks that have significantly influenced horror cinema. The seminal The Wolf Man (1941) set the standard for all werewolf films that followed, introducing the tragic figure of Larry Talbot. John Landis’ An American Werewolf in London (1981) revolutionized the genre with its blend of horror and humour alongside pioneering special effects. Joe Dante’s The Howling (1981) offered a cult classic take on werewolf mythology, while Wolf (1994), starring Jack Nicholson and Michelle Pfeiffer, intertwined horror with romantic drama. The Canadian gem, Ginger Snaps (2000) provided a fresh perspective on werewolf lore through the lens of sisterhood. The Wolfman (2010) reimagined the classic Universal monster with modern cinematic techniques. More recently, Marvel Studios’ Werewolf by Night (2022) paid homage to classic horror with its atmospheric storytelling. Each of these films has contributed to the evolution of the werewolf mythos, highlighting the genre’s enduring appeal and versatility. Unfortunately, Wolf Man falls short of these standards and disappoints.
At the heart of the story is Blake, portrayed as a beleaguered writer and stay-at-home father. He finds himself caught between parenting his charming daughter, Ginger (Matilda Firth), and the increasing strains of a crumbling marriage with his wife, Charlotte (Julia Garner). Unfortunately, Whannell’s portrayal of family dynamics feels superficial. Charlotte is presented as a one-dimensional character, primarily defined by her notable lack of attentiveness to her family. Her role is largely reduced to an overworked professional who is often glued to her phone, exhibiting little interest or warmth towards Blake and Ginger. This lack of development renders her character almost unrecognizable in moments that demand emotional depth, making it difficult for the audience to empathize with her struggles.
Julia Garner, an actress known for her powerful portrayal of Ruth in Ozark, is left grappling with a thinly written character that prevents her from showcasing her full range of talent. Her performance oscillates between fleeting moments of emotional weight and an overarching sense of confusion regarding her character’s intentions and growth.
Whannell attempts to weave elements of creepiness throughout the film, but as the plot unfolds, he increasingly resorts to conventional horror clichés that lack the punch needed to be effective. Creative camera angles and stylistic choices are introduced in a bid to immerse viewers in the wolfman’s disorienting world, with scenes featuring warped visuals and absurd human dialogues. However, these attempts feel gimmickier than genuinely engaging. The film includes a few plot twists that could have provided satisfying connections to its beginning, but the rushed pacing and compressed storytelling undermine their potential impact, leaving audiences feeling disengaged.
The narrative arc, which compresses the traditionally gradual unfolding of a werewolf transformation, takes a shockingly swift approach. Unlike the slow descent and Kafkaesque transformation of David Cronenberg’s character in The Fly, this rapid progression leads to a hastily crafted struggle for survival that fails to evoke the chilling tension typical of effective horror films. Garner’s character transitions abruptly from a beleaguered reporter who consistently prioritizes her job over her family to a ferocious, gun-toting mother ready to defend her loved ones. This radical transformation occurs with little explanation, making her character’s change seem implausible and leaving viewers more puzzled than captivated.
Even an accomplished performer like Julia Garner finds herself stranded in a role devoid of substance, her formidable talents underutilized in a narrative that offers scant material to work with. There is an unmistakable yearning for a richer, more nuanced portrayal of her character—one that could have infused the film with the vitality and depth it sorely lacks. Garner’s potential to breathe life into her role is stifled by a script that fails to provide the emotional complexity and development necessary for a truly compelling performance.
Wolf Man dares to present an intriguing premise but crumbles in execution. While it teases moments brimming with potential, the film tragically evolves into a missed opportunity, shackled by underdeveloped characters and a void of emotional resonance. With its lacklustre narrative and a grievous failure to delve into character exploration, viewers are left with a sense of profound disappointment. Despite its ambitions, the experience is ultimately decent yet forgettable.
Showing in a cinema near you from Friday 17 January.
-Dirk Lombard Fourie