by Jack Grimme, Contributing Writer
It has been half a decade since Leigh Whannell’s The Invisible Man shattered expectations by reframing H.G. Wells’ science fiction classic for a modern audience. The film, releasing over 120 years after the novel’s initial release, was restructured as the perfect allegory for spousal abuse and psychologically violent gaslighting. It left lasting images of a ghastly paint-covered visage and a floating steak knife, dripping blood. The film’s success was somewhat hampered by the pandemic overtaking the world less than a month later, but it regardless found its place in the modern horror canon. Now, one of the first treats of the new year is Whannell’s next attempt at retooling a classic folktale with Wolf Man. The director begins his 10th year in the chair with this release that finds two struggling parents, portrayed by Christopher Abbott and Julia Garner, simultaneously fighting the dying flame of their marriage and a feral beast that feasts at night.
The piece that set The Invisible Man apart from the crowd was Whannell’s uncanny ability to incorporate narrative and mechanical innovations into an ancient story, while maintaining that classic feel. In Wolf Man, he manages to modernize ancestral evil in the same way that he communicates the prevalence of domestic violence and manipulation, which are just as rampant as they have been for centuries. The film similarly grounds its horror in a deeply human theme: the idea that a well-intentioned, protective bear hug of your loved ones can quickly become a suffocating chokehold that is just as, if not more, damaging than any external threat. The parts of the story that really revel in this allegory are the standout moments.
Abbott plays a father who is so desperate to protect his wife and daughter that he is slowly consumed by his demons. Again, this element of the movie connects quite well at many points. Those who can place themselves in the shoes of the father, mother, or daughter are sure to walk out of this film feeling quite seen. However, there are quite a few elements of this quandary that are teased, but left underdeveloped as the curtain closes. Specifically, the dynamic between the mother and daughter is almost entirely unexplored, in spite of the fact that it has some of the most consequential implications for the trauma being examined by the story. It would have been interesting to see how the victims of the father’s incurable condition either break or bond under the pressure of the situation.
Unfortunately, the theming is not the only element of this film that has moments of greatness yet just misses the mark of excellence. Mechanically, Whannell has proven that he is proficient and creative when wielding a camera. From the aforementioned paint/ladder shot that is seared into my brain to the slick camera movements that perfectly enhanced the action of Upgrade, it’s clear that he aims to make the most of the medium. Several shots in the film perfectly capture the truly singular horror that can only be achieved alone on a woody road, late at night, vision solely guided by the dim gaze of passing streetlights. There are singular frames in this film which are relatively inconsequential to the plot, but they stuck with me due to the universal fear he picks at. Whannell also opts for some interesting visual and audio techniques to demonstrate the abilities and perspective of this feature’s creature. Sometimes, these interludes perfectly communicate the strain of a descent into madness and battle with the deeper, animalistic parts of human nature. Other times, the effects look a bit cheesy, undercutting the immediate threat of the scene. It is hard to knock the movie for trying some new visuals, but improvement can only be achieved if we are honest about the final result’s impact on the narrative.
In previous horror/thriller reviews, SiftPop has touched on a variety of problems that are tragically prevalent in the modern landscape. Accordingly, there is one key pitfall that Wolf Man hopelessly falls into, and another that it deftly evades. Its main mistake film is the tendency to devolve into unoriginal, and often unengaging, action. Characters run from here, to there, and back to the first spot with little to know narrative significance or progression. Potentially epic battles devolve into a punch, a scratch, and a kick or two. There are moments that engage in the gruesome abilities of the monstrous threats, but they are few and far between.
Thankfully, the film claws its way back from these concerns by creating a vicious threat that is believable and consistent. The beasts are threatening powerhouses that will gladly eviscerate you the moment you let your guard down. Yet their shortcomings are perfectly telegraphed and thematically consistent with the established lore. Many modern monsters manifest abilities whenever the plot needs it, creating a situation that is impossible to engage in, because you can’t rationalize the world in your head. These two points combine to establish tension in Wolf Man, and the fact that they are at odds with each other does make the thrilling moments a bit inconsistent.
Garner and Abbott are two selling points that are worth mentioning. Garner turned a potentially forgettable side character in Ozarkinto the heart of the show, and Abbott has been a sleeper talent who has shown tremendous promise in a variety of works. Unfortunately, in Wolf Man,the pair is kind of just… fine. They have some moments, but the film is such a breeze that the audience doesn’t get much time to learn their complexities. Abbott spends the bulk of the film completely dehumanized, inhibiting him from providing much personal flair. And of the main trio, Garner really gets the short end of the stick. She doesn’t have much in terms of characterization, and really just spends the bulk of the film doing laps in the woods. This was a tremendous disappointment, because the leads are so promising. However, this was somewhat counteracted by another instance of impressive work from a child actor. Matilda Firth’s turn as the daughter imbues this film with some heart that almost certainly wouldn’t have existed otherwise. A handful of interactions with Abbott, as well as adorable mannerisms, hint at a promising career for the youth.
The final element worth mentioning here is the audio and practical effects throughout the film. The two often perfectly pair to create graphic scenes of transformation and mutilation that will make your skin crawl. The distant crunching of bone and stretching of flesh will surely attract some body horror enthusiasts, and even more definitively turn away any individuals who have misophonia. Ultimately, the quick pace and contained plot make the film feel like a breeze. It is over before you know it. So much so that the ending is anticlimactic and potentially unsatisfying from a thematic point of view. The characters who make it do so more out of luck than any competency or application of lessons learned.
Wolf Man is something of a spiritual successor to The Invisible Man. Both poignantly reminding the audience that the monsters of old are less creative fabrications and more personified manifestations of the darker demons within us all. Hopefully, Whannell returns to this lane someday, because while the film is slightly underwhelming, the director certainly knows how to revitalize these load-bearing narratives.
Rating: Liked It
Wolf Man is currently playing in theaters
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