A man takes his family to the farmhouse he grew up in, but an unexpected attack by a beast starts turning him into a beast himself.
Atmospheric but also problematic. There are pros and cons, but the cons pile up higher. The photography is amazing – haunting, eerie, dark, and imposing. Expressing both worlds visually wasn’t easy, but Stefan Duscio’s cinematography did a brilliant job connecting them. The sound department also deserves much credit for completing that connection with sound effects and reverse utterances that will captivate you. The result wouldn’t be complete, though, if Christopher Abbott and Julia Garner’s performances were not solid. They do an excellent job in front of the camera, so all departments deliver the desired audiovisual outcome. What’s the problem then, yeah?
Well, it isn’t Leigh Whannell’s directing. Most sequences are intriguing… but that is not enough because as a whole they are not as effective. The problem lies in his and Corbett Tuck’s writing (his wife). Everything happens too fast for the audience to absorb. The transformation, escalation and climax blend into one, leaving the viewer somewhat indifferent. Furthermore, despite some innovative details, as a story, it has nothing new to offer. It pays a solid tribute to The Wolf Man (1941), but not all cinematic intentions come to life as they were supposed to. The sum should always be more impactful than its parts, and, in this case, Wolf Man isn’t.
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