After many failed attempts to reboot The Wolfman during the 2010s and early 2020s, with lead actors shifting from Dwayne Johnson to Ryan Gosling, Universal finally entrusted the project to Leigh Whannell, fresh off his surprising success with 2020’s The Invisible Man. Like his earlier film, Whannell set out to reimagine a classic Universal monster through a grounded approach. While the concept remains intriguing on paper, the execution feels disjointed, never coming close to the suspense or engagement of The Invisible Man, despite featuring Christopher Abbott in wolf makeup.
The story centers on Christopher Abbott and Julia Garner, two immensely talented actors tasked with portraying a couple navigating parenthood and marital challenges. The opening act, which introduces the dynamic between Blake (Abbott), his wife Charlotte (Garner), and their young daughter Ginger (Matilda Firth), is by far the most satisfying, hinting at deeper emotional themes. Early scenes of a father-son interaction and the parents’ struggles raising a child suggest the film might use werewolf mythology as a metaphor for family tensions or inherited trauma. Yet, these promising setups lead nowhere.
As a horror film, Wolf Man is surprisingly sparse on scares. Its most chilling moment occurs in the first five minutes, and the horror elements lack the creativity or intensity found in other werewolf films. The one undoubtedly positive aspect is the sound design, which effectively immerses viewers and enhances the atmosphere.
The makeup effects are solid, but the design is uninspired, and even the transformation scenes fail to leave an impact. Whannell also overuses certain tricks, such as repeatedly showing how the werewolf perceives humans, until it becomes tiresome.
On the dramatic side, the film falters even more. A late revelation about a character’s death feels irrelevant, and the story abandons its initial threads of familial conflict and parental struggles without resolution. Does Blake’s relationship with his father influence his own parenting? Is his marriage with Charlotte repaired as the story unfolds? These questions, which could have added emotional resonance, are left unanswered.
The performances, however, are not the issue. Christopher Abbott gives his all, convincingly portraying a tragic figure and fully committing to his wolf-like transformation. Julia Garner, on the other hand, seems adrift, unable to elevate her underwritten character. While certain scenes, a gripping truck accident and the aforementioned rooftop sequence, work well in isolation, the overall narrative feels thin, with minimal development of its characters.
Clocking in at 103 minutes, Wolf Man doesn’t drag, but it also fails to leave any lasting impression. It’s a film that occasionally sparks interest with isolated moments, yet ultimately feels like a collection of unrealized ideas. Leigh Whannell proved with The Invisible Man that he could reinvigorate classic monsters with contemporary relevance. Unfortunately, Wolf Man is more howl than bite.