By Malice Intended

The Wolfman is a remake of the 1941 horror classic of the same name, set during the Victorian era. After the brutal murder of his brother, Lawrence Talbot (Benecio Del Toro) returns to the town of Blackmoor to attend the funeral.  Upon his arrival, he is reunited with his estranged father Sir John Talbot (Anthony Hopkins) and his brother’s fiancée, Gwen Conliffe (Emily Blunt) and learns that his brother’s murder is the latest in a series of slayings that have plagued the town.

Scotland Yard inspector Aberline (Hugo Weaving) has arrived to investigate.  He is instantly suspicious of the Talbot family and begins to antagonize Lawrence.  As more villagers are killed, it becomes apparent to everyone involved that they are being terrorized by a mythical, ravenous beast.

For the most part, The Wolfman is a traditional monster movie.  It isn’t just a remake, but a throwback to an earlier time.  It willfully conforms to all the genre trappings its name suggests, more so out of respect than laziness.  It gives us everything its trailers and marketing materials promise, and manages to be a diverting. if not wholly satisfying, horror movie.

Director Joe Johnston has never been the most visionary filmmaker, but his skills and background in special FX make him well suited for this material.  The film is shot by Shelly Johnson, who keeps the characters shrouded in darkness and fog.  The Victorian setting of The Wolfman is empty and foreboding; dark hues are invaded by the not so occasional spray of deep red crimson.  The set design and costumes are meticulously detailed, though not groundbreaking.

The visual effects reflect the workman like craft on display elsewhere in the film.  The werewolf transformations are not revolutionary, but are a highly detailed updating of a metamorphosis that used to be achieved via prosthetics and animatronics.  They aren’t photo real, but achieve the desired effect.  The audience will have no problem suspending disbelief and buying into the illusion.

The plot, like many modern thrillers and mysteries, hinges on a twist that occurs in the last act.  Thankfully, the standard but smooth storytelling helps this twist to not seem intrusive or extraneous.  It doesn’t create a plot hole that forces the audience to make giant leaps in logic.  It all goes down fairly easy, much like the monster movies of old.

Benicio Del Toro’s quiet intensity undermines the character of Lawrence Talbot.  His deadpan expression rarely changes.  One would be hard pressed to find any sign that the extraordinary events taking place are having any effect on him.  His performance isn’t necessarily bad, just inconsequential.  We are startled by the events that unfold, but we never really sympathize or care about him.

By comparison, the other actors bring a sense of fun to the proceedings.  Hugo Weaving’s stiff demeanor and monotone line delivery betray a hint of emotional involvement.  He is thoroughly professional though not wholly unaffected by the situation.  Anthony Hopkins’ performance as Talbot’s father plays like subtle scenery chewing.  Hopkins has fun with the role while keeping it believable.

The Wolfman is diverting if unsubstantial entertainment.  It contains enough jump scares, violence, and colorful background characters to keep casual viewers interested.  It is not meant to be a layered character study or a bold genre experiment.  It is not trying to take the material in new directions.  It knows its job and goes about executing it in a dutiful fashion; taking itself seriously, but remaining agile in execution.

Out of 5

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