Could we finally be seeing the inception of Leigh Whannell’s own Dark Universe? Wolf Man is yet another take on the titular Universal monster, the latest since 2010, following a family in a remote farmhouse who are stalked and attacked by a terrifying unseen threat.
Leigh Whannell sent shockwaves through the horror community with his reboot of The Invisible Man, applying a modern, psychological spin that was both haunting and intense. As expected he’s taken the same approach to this film, updating the original narrative while adopting a similar tone and aesthetic to The Invisible Man. It’s an approach that may rub those looking for a more traditional experience the wrong way, but I for one think the changes create a tense, unique ride. I’m going to get talk of a classic monster universe out of the way and say that I hope it doesn’t happen… at least not for a while. I’d rather they stick to this approach of adapting the classic Universal monsters into a modern setting and giving them all a somewhat similar tone. Whether you have Leigh Whannell direct all or most of them is irrelevant, but once you have set the groundwork with standalone monster films that are well received, then you can maybe think about some tasteful crossovers… but only then.
As for this film specifically, one narrative choice Whannell adopts is to set the entire story, or the majority of it, in a single night. This is a double-edged sword when it comes to the success and impact of the narrative. On one hand this approach is fantastic for maintaining unbroken tension, suspense and horror. There really is no reprieve once the terror settles in – it’s a constant bout between man and animal that is full of gripping drama and tense thrills. I kept waiting for a time jump that would provide a breath of hope, but it just sticks to its guns and says ‘we’re doing this all right now’. While the approach works for instilling a sense of terror, it’s not so great when it comes to character development and engagement.
The film’s opening, i.e. the calm before the storm, doesn’t do enough to make the characters likeable or to really give you a grasp on who they are. There’s some insight into their relationship, but for the most part the opening is used to formulate a reason for this family moving to a remote farmhouse. Then once the horror of the second act starts there’s no real opportunity to have the characters really grow. I did like Lawrence (Christopher Abbott) and his moments of inner struggle, but they’re quite brief in the grand scheme of things. The ending, while action packed and full of great horror, falls flat in the story department as a result of that lacking character development. I can see the arc they were going for, I just don’t think it was pulled off as well.
Speaking of the horror, this is one area that Leigh Whannell is incapable of faltering. The Saw creator and alum creatively weaves together eerie moments of traditional horror with more fast-paced chills of a psychological thriller. Whether characters are inside or outside, there’s an uneasy sense of danger looming, and Whannell conveys that well. The setting does a lot for building the tense atmosphere – it’s a foggy night in a secluded farmhouse where the only really light is moonlight. There’s a slight gothic tinge to it, but the focus is more on that modern psychological horror type of approach that worked so well in The Invisible Man. While not outright scary, there’s a consistent run of body horror through the second and third acts, sure to intrigue anyone who loves that old school subgenre.
There’s a pretty neat mechanic in here when the perspective shifts into that of the Wolf Man, giving the scene a ghostly blue filter similar to Stranger Things‘ Upside Down. It’s a cool aesthetic that I wish was used a lot more. Perhaps prolonged exposure makes it a bit of an eyesore, but I wish there was more than the collective two minutes of use.
While the characters themselves aren’t as compelling as they could have been, the performances behind them are one of the film’s strengths. In the lead, Christopher Abbott does a great job bringing out his character’s struggles as he goes through a particularly harrowing experience. Charisma is by no means a strong suit of the character, nor any character in here, so he doesn’t have much to flex there, but he’s convincing in selling the uncertainty and fear of every moment. Julia Garner is also putting her name in the hat as a potential horror mainstay. Again, the demands of the role don’t call for too much in the way of heartfelt emotion, but the way she conveys the terror of being hunted by an unknown beast elevates the horror sequences.
In the end, Wolf Man isn’t quite as ‘bitey’ as Leigh Whannell’s last dive into the classic Universal monster portfolio, but it’s a satisfying and aptly gruesome horror feature. I wouldn’t go so far as to call it outright terrifying – you will be able to sleep at night – but it’s an entertaining ride. The story and character development might leave more to be desired, but with an eerie atmosphere, a decent dose of body horror and a fast-moving pace, this is a quick and easy watch for any horror fan.
6.9/10
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