Leigh Whannell's latest project, Wolf Man, continues his reimagining of classic Universal monster stories, a series that began with The Invisible Man. These reinterpretations are now being developed as standalone narratives on a smaller scale, after earlier plans for a shared "Dark Universe" franchise—which included Tom Cruise’s The Mummy—didn’t achieve the hoped-for success. The story begins by introducing us to a young boy who accompanies his father on a hunt, their relationship strained due to the father's overbearing parenting style. During this hunt, they encounter a creature that is neither fully animal nor entirely human, barely escaping its violent nature. Thirty years later, that boy—now Blake, played by Christopher Abbott—lives in New York City with his journalist wife Charlotte (Julia Garner) and their daughter Ginger (Matilda Firth). Following his father’s death, he must return to the family farm in Oregon to collect his belongings. Upon arriving in Oregon, Blake and his family are attacked by a creature resembling the one from his childhood and forced off the road. While his family finds refuge on his father's farm, Blake is injured and develops a mysterious illness that quickly turns dangerous and inhuman, putting his loved ones at risk. Whannell has experience with horror franchises like Saw and Insidious, but Wolf Man defies expectations; it’s not your typical werewolf movie. Traditional werewolf lore—such as transformations tied to the full moon, vulnerability to silver bullets, or complete physical changes into a wolf—is disregarded here. Written by Whannell and his wife Corbett Tuck, the film's initial concept was influenced by the isolation experienced during the COVID-19 pandemic. This isn’t a temporary transformation that disappears with daylight; it’s portrayed as an illness, described as a fever manifesting with the features of a wolf. The influence of David Cronenberg’s The Fly is evident in the disturbing and often repulsive depiction of Blake's transition into a monstrous, hairy figure. The creature design, achieved through practical effects, stands out despite its unsettling appearance. It evokes comparisons to Jack Nicholson’s character in Wolf, but with less hair and more exposed flesh. The film is most impactful when the creature remains unseen; for example, a particularly effective scene shows Blake and his father hiding in a treehouse during a rainstorm, where the audience hears the creature's snarls as it claws at the wood, emphasizing its proximity. To fully appreciate Wolf Man, seeing it in theaters or with high-quality surround sound is recommended, as the film’s sound design significantly enhances the experience. The forest surrounding the Oregon farm feels alive with crackling thunder, rain, and creaking trees. However, the narrative falters once Blake transforms into the creature. The plot easily returns him to Oregon, but the script struggles to establish whether he retains any recognition of his family. He experiences strange visions granting him night vision and finds himself unable to comprehend English, perceiving it as garbled speech. While a sentimental connection with his daughter is built up, culminating in an intended emotional moment—a “I love you 3000” exchange—it ultimately feels unearned and falls flat. The film abruptly shifts from Blake saving his family to him attempting to harm them, meant to illustrate his loss of self as the sickness progresses. The primary disappointment lies in the screenplay itself, despite strong performances from the actors; Julia Garner delivers a compelling emotional performance, and Christopher Abbott conveys much through his eyes even while covered in prosthetics. Even the ending feels rushed and lacks resolution, seemingly hinting at future installments but concluding with an anticlimactic panoramic shot of characters gazing at the night sky. Wolf Man features commendable acting and a score that honors its werewolf predecessors. However, despite the impressive practical effects, the creature design is ultimately disappointing, and the story wanders aimlessly because it seems to have nowhere else to go.

Source on TMDB