Leigh Whannell’s ‘Wolf Man’ tests the repeatability of werewolf stories

Julia Garner and Christopher Abbott star in 2025’s “Wolf Man” | Universal Pictures

His newest film follows the trend of horror films that insist on “safety” rather than “scary.”

After several disappointing weeks at the box office, it’s no surprise “Wolf Man” has failed to grab anyone’s attention. The latest release from Blumhouse Productions and director Leigh Whannell is a $25 million dollar retelling of the werewolf film, something that seems to happen at least once every decade.

We can give cinematographer Stefan Duscio, who previously worked with Whannell on “The Invisible Man” and “Upgrade,” credit for making a beautiful film. With much of the movie set in the dense forests of Oregon, it’s both visually captivating and terrifying, marrying the beauty and danger of nature in a seamless way.

Another winning feature of the film comes from the makeup department. Blake (Christopher Abbott) undergoes a long-running transformation from charming family man into a modern take on the werewolf: a hairy, violent creature with a broken jaw and piercing blue eyes that’s leaves him unrecognizable to his family.

It’s the latest in a trend of horror hits like “Terrifier 3” and “Smile 2” for this recent emphasis on practical effects in horror. The film leans into the body-horror genre as Blake finally completes his transformation, and anyone with a dislike for bones or fingernails is sure to get squeamish in their seats.

The werewolf story is over-told, but Whannell does introduce some new technical aspects to try and stand out from the crowd. Sound design and visual effects play a critical role in Blake’s transformation into a wolf man, allowing an insight into the character’s new perception of the world.

As someone with over 20 years of experience in the horror genre, it’s unfortunate that Whannell relies on overdone tropes and cheap jump scares to move his film along. Blake is a tragic hero to a T but the best acting efforts of Julia Garner and Matilda Firth as Blake’s wife and daughter can’t save them from the restrictive roles of final girl and victimized child.

Although the opening scene is well acted with Zac Chandler in his debut role as a young Blake and Sam Jaeger as his aggressive yet protective father Grady, their dialogue leaves no room for interpretation as Whannell establishes his central theme of losing a loved one to disease, mental or physical.

Despite the early presentation, the movie slows down multiple times just to further remind us of this theme, a dangerous choice that can leave audiences rolling their eyes by the end of the movie.

“Wolf Man” represents the current state of Blumhouse, the company insisting on churning out basic, safe horror movies that earn a quick buck without making a real statement. For example, 2024 releases “Imaginary” and “AFRAID” barely made the company 50 million dollars combined in the box office.

With recent horror successes “The Substance” and “Nosferatu” having been produced by different companies, it’s shocking and disappointing that Blumhouse is making no attempt to reestablish itself as a horror powerhouse.

Seasoned fans of the genre will find nothing new here, but “Wolf Man” doesn’t promise to be anything other than what it is, and it can only give us the hope to look forward to other horror movies the year will bring.

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