Leigh Whannell, the mastermind behind modern horror classics like the Saw franchise and the chillingly effective Invisible Man remake, steps into the moonlit realm of lycanthropy with his latest film, Wolf Man. This reimagining of the classic Universal Monster tale, unfortunately, stumbles more than it stalks, leaving audiences with a film that lacks the bite and visceral terror one might expect from such a seasoned genre filmmaker.
Wolf Man (2025)
The film opens with a promising prologue, a scene bathed in shadows and dread that effectively sets the stage for a chilling descent into the primal fear of the beast within. We are introduced to a young Blake, played with wide-eyed innocence by [child actor’s name], who witnesses a terrifying encounter in the woods with his gruff and emotionally distant father. This scene, steeped in the ominous atmosphere of rural Oregon, hints at the psychological scars that will haunt Blake into adulthood, and the potential for a nuanced exploration of the werewolf mythos as a metaphor for inherited trauma and toxic masculinity.
Fast forward to the present day, and we find Blake, now portrayed by the talented Christopher Abbott, as a struggling writer and stay-at-home dad navigating the complexities of family life in the bustling metropolis of New York City. His wife, Charlotte, played with her usual intensity by Julia Garner, is a driven journalist whose demanding career often leaves Blake feeling isolated and adrift. Their young daughter, Ginger, adds a touch of levity to the proceedings, but even her adorable presence can’t fully dispel the looming sense of unease that permeates the film’s first act.
When Blake inherits his estranged father’s dilapidated farmhouse in Oregon, he sees it as an opportunity to reconnect with his past and forge a stronger bond with his family. However, this idyllic retreat soon becomes a nightmarish descent into the heart of darkness as Blake is confronted by the terrifying reality of the werewolf curse that has plagued his family for generations.
Whannell’s attempt to update the Wolf Man myth for a modern audience is commendable, but the film ultimately falters due to a combination of narrative missteps, underwhelming special effects, and a lack of genuine scares. The script, co-written by Whannell, feels unfocused and underdeveloped, squandering promising plot threads and characters in favor of generic jump scares and predictable plot twists.
One of the most glaring issues is the film’s handling of the werewolf transformation scenes. While the practical effects are decent enough, they lack the visceral impact and grotesque beauty of transformations seen in classic werewolf films like An American Werewolf in London or The Howling. The CGI enhancements are also uneven, at times looking jarringly artificial and detracting from the sense of realism that is crucial for a horror film to be truly effective.
The film’s supporting cast is equally underutilized. Benedict Hardie, who plays a mysterious local with a connection to Blake’s past, is given little to do beyond delivering cryptic warnings and disappearing into the shadows. The character had the potential to be a truly unsettling presence, a harbinger of the darkness that awaits Blake, but he is ultimately reduced to a plot device with little depth or agency.
Even the talented leads, Abbott and Garner, struggle to elevate the material. Abbott, known for his nuanced performances in films like Possessor and It Comes at Night, is saddled with a thinly written character who spends most of the film reacting to events rather than driving them. Garner, who has delivered powerhouse performances in Ozark and The Assistant, is similarly constrained by a role that lacks the complexity and depth she is capable of.
The film’s attempts to weave in themes of toxic masculinity and intergenerational trauma are also largely superficial. While the initial scenes with Blake’s father hint at a deeper exploration of these issues, they are ultimately abandoned in favor of more conventional horror tropes. The result is a film that feels thematically shallow and emotionally unengaging.
In the end, Wolf Man is a disappointing misfire from a talented filmmaker.While the film boasts a strong cast and a promising premise, it fails to deliver on its potential, leaving audiences with a forgettable and ultimately unsatisfying experience.
