WOLF MAN Blu-Ray Review: Leigh Whannell’s Latest Howls With A Modest Take On The Iconic Monster

Wolf Man is now available on digital from Blumhouse and Universal Pictures Home Entertainment. The film releases on 4K UHD, Blu-ray and DVD beginning March 18.

Universal Pictures’ plans for a Dark Universe may not have panned out well, but that hasn’t prevented the studio from trying to flesh out newer iterations of its monsterverse IPs. Here, in association with Blumhouse and director Leigh Whannell of The Invisible Man and Upgrade fame, we get Wolf Man, in a version that does away with the more furried look in exchange for something raw and a little humanoid in form.

That image takes a slow, gradual pace in its transformation for the film’s duration as we follow a story that tackles grief and generational trauma, along with some of the usual and irksome shortfalls of the horror genre. The reward is also aplenty per the spectacle we get in the wolf visuals and performances by two of the actors in costume, namely with actor Christopher Abbott leading the cast.

For starters, the film flashes back to the younger years of protagonist Blake Lovell, and the terrifying task of learning to hunt with his father in the Oregon wilderness. There’s a dark undertow that accompanies the trauma that comes with a more troubling revelation as the film’s prologue transitions to present day with Blake (Abbott), thirty years later and living in the city with workaholic wife Charlotte (Julia Garner), and daughter Ginger (Matilda Firth).

The marriage has hit a rough patch for the two spouses while they both toil their best at keeping the peace with Ginger in the room. Part of that effort finds the trio on a journey to reconnect when they quest to Blake’s childhood home to collect some belongings after learning of the death of his father following his disappearance sometime earlier. Little do they know that their trip is about to take a harrowing turn, albeit literally, when a mysterious creature attacks them during their trip, and Blake is mysteriously injured.

The family makes a daring bolt for the home just yards away, barricading themselves from the beastly entity terrorizing them. Just shy of their sanctuary, however, it’s not until Blake’s injury begins taking its toll, with the devoted family man slowly turning into something decrepit, ferocious, and far from human. The internalized duality between man and beast fights to stay alive begins to narrow, and with no place left to run or hide, the Lovell family has no choice but to confront the monstrous afflictions head on, no matter the cost.

A first look at the “wolf” transformation prior to the film’s release fell flat at the time, although it’s safe to say that those images didn’t really do justice to the character compared to actually seeing it in action, even if right then there’s an acquired taste to it. I liked much of what Abbott’s take on the role brings to the table along with Whannell’s vision. That’s not to say less of the pre-existing designs of the classic monster; Studios have always imposed different variations of iconic moster roles from vampires and mummies to lycana and the like. Needless to say, Whannell’s choice won’t be before everyone, although it still delivers the desired violent, gory and thrilling effect.

What culminates here with Wolf Man is the ultimate story pivot that lands Charlotte and Matilda directly in the crosshairs of the Lovell curse – the inconspicuous and grim allure amid the backdrop. Whannell lands this perspective almost brilliantly at times, particularly with cinematography that mingles between the human and wolf perspectives of communication and ambience. It reminded me of that same effect delivered in the first few episodes of the criminally cancelled hit TV series, “Warrior,” wherein the showrunners invoke the differing worlds between the Chinese and non-Chinese in 1800s San Francisco, which I thought was neat, and, being applied here, showed great depth and perception in the dimensions of Whannell’s overall story.

There’s a definitive mood in the tragedy that bookends much of the second half of Wolf Man wherein Garner’s role increases as Ginger’s incumbent protector. Furthermore, the oblique adherence to Ginger’s connection with her father never wanes, even as the inevitable occurs, which does make the film whole right down to the explosive finish. I can’t say for certain what it was that probably didn’t deliver the same effect with other critics, but again, as with most reboots of classic and beloved IP, Wolf Man isn’t for everyone, which is fine. Those who love it or have a general keenness and curiousity with remakes and reimaginings won’t mind some of the liberties Whannell and the crew take here, particularly with respect to many of the more practical tools used to bring the character and the world to life.

As a reboot, it will probably leave room for another director to try and build or rebrand the property with another ambitious take. For now, Whannell’s adaptation is certainly a worthwhile buy if you’ve enjoyed his filmography up until now. Wolf Man doesn’t necessarily lose its luster here through its lens, and for a creature feature shot on location with as much organic background as a film like this could endure amid the elements, it’s worth appreciating.

The upcoming 4K, Blu-Ray and DVD in each of their respective releases dive into at least four featurettes discussing the making of this latest treatment, ranging from concept, set and sound design, to stunts. It also comes with a director’s commentary which should delight any physical media collector.