Wolf Man
January 15th, 2025
MOVIE: WOLF MAN
STARRING: CHRISTOPHER ABBOTT, JULIA GARNER, MATILDA FIRTH
DIRECTED BY: LEIGH WHANNELL
AMovieGuy.com’s RATING: 3 STARS (Out of 4)
RATED: R
RUN TIME: 103 MINUTES
January is often considered a dumping ground in the movie industry, where post-Oscar-season material lands, with studios hoping to catch just enough viewers to start the year in the black. But things have changed since COVID-19, and now no month feels truly wasted. The cinema calendar kicks off with Wolf Man, the fourth film from director Leigh Whannell, and his second take on a Universal Pictures Monster—this time, the iconic werewolf. After the success of Upgrade and The Invisible Man, Whannell’s return to the genre is more than enough reason to give this a watch. What sets this interpretation apart is that, while Wolf Man borrows from a long legacy of werewolf stories, Whannell brings something fresh to the table, transforming the film into the first must-see horror of 2025.
Where The Invisible Man explored themes of toxic relationships, domestic abuse, and the predatory behavior of men, Wolf Man tackles the weighty subject of generational trauma. The protagonist, Blake (Christopher Abbott), grew up in the isolated hills of Oregon under the strict, sometimes terrifying guidance of his father, who taught him survival skills—hunting, living off the land, and how to endure life’s hardships. His father’s “tough love” approach may have been well-intentioned, but it’s clear that the deep history of the hills hides dark secrets: legends of a beast that prowls the woods at night.
Thirty years later, Blake is a struggling writer living in San Francisco with his wife Charlotte (Julia Garner) and daughter Ginger (Matilda Firth). When news arrives that his father has been legally declared dead, Blake returns to the family cabin in the woods, only to find that something sinister is still lurking in the shadows. An encounter with a mysterious animal leads to a brutal injury, and Blake begins to transform in ways he cannot understand.
Crafting a unique werewolf story is no easy feat. John Landis’ An American Werewolf in London remains the gold standard in terms of both special effects and dark comedy, but Whannell and co-writer Corbett Tuck manage to make their version feel distinct. Rather than lean into the usual gore or grandiosity, the film keeps things more intimate, focusing on the isolation of the characters—both inside the house and among the vast, eerie woods. The cinematography and sound design play a huge role in setting the tone, with the creeping dread slowly seeping into every frame. As Blake begins to succumb to the lycanthropic curse, the film takes its time with the transformation, not rushing to show the monster but instead focusing on the subtle shifts in Blake’s physical and mental state. This slow burn creates an atmosphere of tension, as the viewer experiences the horror from both Blake’s point of view and through the shock and fear of his family as they realize the monster in their midst is someone they once loved.
Wolf Man feels more like a short story than a sprawling character study, and in its contained nature, it explores the theme of radical change—what happens when the person you love becomes something unrecognizable, something dangerous. While it may feel like a step back for Whannell, in comparison to his previous works, it’s still a solid entry in his filmography. Instead of pushing boundaries, Wolf Man leans heavily into the mythology of the werewolf tale, opting to focus less on the dark nature of men and more on the impossible task of protecting those we love from forces beyond our control.
Ultimately, Wolf Man is a film that will likely grow in appreciation over time. It’s a quietly unsettling story that lingers in your mind, creepy and told through Whannell’s distinct voice. While every werewolf movie brings something different to the table, Wolf Man proves there’s still a hunger for this classic monster—one that’s both timeless and, in Whannell’s hands, refreshingly new.
3 STARS
WOLF MAN IS PLAYING IN THEATERS FRIDAY JANUARY 17TH, 2025.
Written by: Leo Brady
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