If you're hoping for a modern updating that surpasses the 1942 horror classic this film will be a disappointment. Neither a gothic masterpiece like Francis Ford Coppola's 1992 "Dracula" nor a brilliant misfire like Kenneth Branaugh's 1994 "Frankenstein," this retelling of "The Wolfman" by Joe Johnston is a by-the-numbers popcorn movie but nothing more. It keeps the same basic plot which returns Lawrence Talbot to his father's estate upon hearing of the death of his brother. A beast is loose on the English moor; something the villagers are whispering may be a werewolf. Modern cinema has been unable to create the definitive werewolf story and this new "The Wolfman" continues to prove that inability.
There are a few substantial changes in this new version including: the backstory of the family plays a greater role in the picture, there is a story interlude to an insane asylum, the romantic interest is the brother's fiancee not a random shopkeeper, and the setting is switched to the late 19th century instead of the 1940s. The changes occasionally improve the narrative but overall just create a more complicated story line to unravel. More problematic for the film are the frequent occurrences of poor storytelling, uneven performances, and questionable editing and special effects choices.
Johnston is usually a solid storyteller but taking over the reins of this production from another director must have kept him off his game. Despite this unusual entrance there are some instances of sloppiness that must fall directly at his feet. Accents are used near the beginning and soon discarded. A fake-looking Scooby Doo-ish CGI bear is tossed into a scene, completely taking the viewer out of the reality of the movie. The rules of the werewolf are never clearly established in the picture. The werewolf sometimes attacks quickly, dismembering victims, but other times is slow and meandering. The picture ends on a groan inducing set-up for a potential sequel.
"The Wolfman" is not without its favorable moments. The picture is entertaining on a surface level but awkwardly tries for a deeper exploration of the characters. When further character exploration is tried it is as if the director cannot build on what came before, leaving each character feeling adrift and incomplete. Del Toro's performance starts with some very interesting choices of expression and suitably awkward reactions to the other characters. The psychological aspect of Lawrence Talbot almost works thanks to Del Toro's mannerisms but the supporting cast doesn't give him much to work with. Anthony Hopkins, as Lawrence's father, appears to be on autopilot for much of the picture. Emily Blunt's Gwen is believable as a grieving, scared widow but there isn't much chemistry between her and del Toro. The movie wants there to be a tragic passion between the characters but it never really manifests. The best performance is compliments of the fourth-billed Hugo Weaving as Inspector Aberline. His disdain for the villagers and detached but penetrating personality leads to some real drama and moments of comedy.
The action scenes, except for a chase through the city, are thoroughly uninspired. The movie just doesn't come together as more than a run-of-the-mill period action-horror piece. Johnston's next picture is the Marvel historical action epic "Captain America." Let's hope he spends more time honing his craft, especially his storytelling, on that picture.
Rated R for bloody horror violence and gore.
