Leigh Whannell’s Wolf Man delivers a bold and unsettling reimagining of the classic werewolf myth, merging raw family drama with unnerving body horror. Set in the remote wilderness of rural Oregon, the film builds an atmosphere thick with isolation and creeping dread, grounding its supernatural terror in an intensely personal story. While it doesn’t always strike the perfect balance between horror and emotional depth, its commitment to character-driven storytelling sets it apart from more conventional monster fare.
Christopher Abbott takes centre stage as Blake Lovell, a man struggling with both his past and an inexplicable transformation. His performance is nothing short of captivating, capturing the slow and painful descent from loving father to something monstrous. The film takes its time in revealing his metamorphosis, a choice that allows for a deep emotional connection to his character, though some may find the pacing a little too patient. Opposite him, Julia Garner delivers a standout turn as his wife, Charlotte, who is forced to confront the terrifying reality of her husband’s affliction while trying to protect their daughter, played with compelling innocence by Matilda Firth.
One of Wolf Man’s greatest strengths lies in its use of practical effects, a rare feat in an era dominated by CGI. From the earliest signs of Blake’s infection to the moment of full transformation, every stage is realised with remarkable detail, making for an unnervingly tactile experience. The creature design leans into gritty realism, presenting a werewolf that feels genuinely animalistic, stripped of any unnecessary embellishments that might have lessened its impact.
Whannell’s direction is sharp and methodical, crafting an atmosphere of mounting unease. The film relies more on suspense and psychological horror than outright jump scares, with moments of shocking violence carefully placed for maximum effect. The setting plays a crucial role, with the Lovell family’s isolated farmhouse and the surrounding dense forests creating an ever-present sense of vulnerability. The body horror elements are handled with skill, striking a balance between grotesque transformation and restrained terror, making the horror feel all the more visceral.
Despite its many strengths, Wolf Man isn’t without its flaws. The slow-burn approach to Blake’s transformation, while effective in building character depth, risks frustrating audiences eager for a faster descent into horror. The story occasionally feels underdeveloped in places, particularly in its supporting characters, with figures like Derek and Grady serving little purpose beyond brief plot progression. Themes of generational trauma and the struggle to outrun one’s past are present but not fully explored, leaving a sense of untapped potential.
At its core, Wolf Man is a film that values emotional resonance as much as it does horror. It takes a familiar concept and reshapes it with modern sensibilities, resulting in a film that feels both intimate and deeply unsettling. While it doesn’t fully stick the landing, it offers enough tension, strong performances, and striking visuals to make a lasting impression.
For all its imperfections, Wolf Man is an ambitious and haunting take on the werewolf mythos. It may not stand as Whannell’s best work, but it’s a memorable and gripping entry into the genre that deserves recognition. A solid 6.5 out of 10.
Now in cinemas.
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