The original trailer to Joe Johnston’s “The Wolfman” presented something ominously dark and full of atmospheric terror. There were shots of a solitary werewolf staggering between barren trees. It felt more like a character study than a plot-driven story. It didn’t show the Wolfman, just small glimpses and shadows. As more trailers came out they exposed the film as more commercial. Images of the film were geared to cause shock rather than awe. They showed more violence, gore and shots of the Wolfman. To my dismay, the film itself is more exploitative than subtle.
Recent reboots of classic films and franchises have delivered a fresh, genuine interpretation to the original story while offering tribute to its inspiration. However, horror remakes usually come up short.
The werewolf myth received its resurgence 30 years ago with “An American Werewolf in London.” Director Jon Landis used unique camera tricks and makeup to create the horrific metamorphosis of man to beast. This recent “Wolfman” uses the same technique, but its silly computer graphics feel artificial and superficial, not authentic and eerie. Landis’ technique of whipping a camera through narrow tunnels in London’s subway system to denote the beast’s movements is more effective than lame CGI. When it’s just lead actor Benicio Del Toro and his wolf makeup, it’s much more authentic and real.
The movie’s production design is impressive. A cobwebbed mansion lurks in shadows as dark as the characters’ secrets. The surrounding forest feels claustrophobic as something sinister lingers in the mist. But the film fails to really connect the characters to its vivid environments. Its weak plot feels rushed and fails to construct intimacy between the viewer and characters.
Del Toro, although his presence is mysterious and intriguing, is lifeless as a Lawrence Talbot but brutal as the beast. He doesn’t mumble for once, but his slow speech and calm manner drag the pace and dynamic of his scenes. It becomes even worse alongside the stoic Anthony Hopkins. Del Toro is also given little to no time to realize his terrifying curse. Audiences don’t feel his pain enough: They just witness the brutality of it. There’s no passion or hint of romanticism here, just a soulless film that failed to realize its full gothic potential.
The lone emotional presence belongs to Emily Blunt as Gwen Conliffe, who is some kind of romantic interest to Del Toro’s character. We’re given little exposition to believe she’d care for other characters throughout the film.
“The Wolfman” is a sad example of how commercialism is ruining inventive filmmaking. This film was victim to re-shoots and was pushed back five months from its original release date. I wish the filmmakers kept it atmospheric and ominous as the original trailer suggested; instead, it’s something that’s little more than a B movie.
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