The Extended Cut demonstrates that *The Wolfman* isn’t really the monster story it initially appeared to be. Directed by Joe Johnston and written by Andrew Kevin Walker, David Self, and adapted from Curt Siodmak's original 1941 screenplay, the film stars Benicio del Toro, Anthony Hopkins, Emily Blunt, and Hugo Weaving. Danny Elfman composed the music, with Shelly Johnson serving as cinematographer. The story unfolds in 1891, following Lawrence Talbot (del Toro) who returns to his estranged father’s estate in Blackmoor after learning of his brother's violent death. There, he quickly connects with his deceased brother's fiancée, Gwen (Blunt), but soon finds himself entangled in a world of lycanthropy and family secrets. The film had a famously difficult production history, including changes in directors, release dates, and mandated cuts to shorten its running time—a significant factor contributing to the final product. Considering this, it’s surprisingly good. The extended cut now available includes 17 minutes of restored footage, previously removed to rush the first transformation scene. This longer version is a considerably better film than the original theatrical release; while still imperfect, the narrative is stronger and the delayed reveal of the initial transformation builds tension where it was lacking before. Despite some modern updates—such as an overly fast wolf-versus-wolf action sequence—Johnston’s movie remains faithful to and respectful of the 1941 version. This isn't unexpected, given Universal Studios’ involvement in reviving their classic monsters from the 1930s and 40s. It is pleasing to see a remake preserve what made the original so well-regarded. The film’s Gothic atmosphere is rich, particularly in the village shrouded by mist, while del Toro perfectly captures the anguished sadness that Lon Chaney brought to Larry Talbot in 1941. The creature's design closely mirrors the original, earning Rick Baker and Dave Elsey an Academy Award for Best Makeup. Those who appreciate graphic violence will also find plenty to enjoy, as Johnston (known for *The Rocketeer* and *Jumanji*) demonstrates a knack for action sequences. A Gypsy camp attack and a bloody rampage through a bus are highlights, and the asylum scene is noteworthy as well. Combining these elements with a murder mystery and an intriguing father-son dynamic elevates the film beyond a simple CGI spectacle. Even Elfman’s score feels appropriate to the period setting. The main shortcomings involve Emily Blunt and Hugo Weaving having limited roles, and Anthony Hopkins occasionally bordering on overacting. However, all deliver strong performances. Del Toro is not miscast as some have suggested; his portrayal is suitably wolf-like even before transformation, troubled and brooding. Talbot’s internal struggles and unresolved past issues—a past he tried to escape but now must confront—are mirrored by the onset of lycanthropy, which feels like a metaphor for the unleashing of his personal torment. Toro delivers an excellent, restrained performance, despite questionable hair choices. Shelly Johnson's cinematography is also commendable, creating atmospheric visuals that complement the film’s tone and period setting. More homage than outright horror, *The Wolfman* in its extended form offers something for fans of Horror, Gothic, or Mystery films—it’s an enjoyable experience overall. It earns a rating of 7/10.

Source on TMDB