Hombre lobo

This film is just alright, maybe a little better than that. But it's nothing to write home about: close, but no cigar.

It plays it too safe. Just when you think something interesting is going to transpire, it doesn't. The film is an adaptation of a decades-old story, and yet it doesn't break any new ground nor offer up any new ideas.

The cinematography and acting are the two standouts. The presentation of the Oregonian outdoors is beautiful, as is the use of lighting throughout. Abbott and Garner turn in great performances, but the actress playing their daughter is not very good to the point that she often took me out of the film. The film felt like it was leading up to something really climactic, but didn't really. Ultimately it ends up feeling rather generic. There are a few jump scares and creepy imagery, but overall it isn't all that scary.

That said, the film is worth checking out if you're looking for an entertaining, spooky little time. The runtime is short, and it clips along pretty nicely.

A January horror movie. You never quite know what you're going to get. More times than not it's where studios dump their worst of the year. I don't think that's going to be the case with 'Wolf Man' though. It's nothing special, but it's a passable 103 minutes.

The film gets off to a very slow start. There was an intriguing opening scene which I had high hopes for, but it never really went anywhere interesting and was more just an extended way to explain the set up for the film.

From there we are introduced to the characters of the family and I thought this was too drawn out and not done in an interesting way. There were some lengthy dialogue-heavy scenes and it was hard not to check out, because they were just done in such a dull way.

Finally we then get into the meat of the movie. Leigh Whannell is a talented director and there are some well done scenes in here. There is one jump-scare that was very well executed. The problem for me though was it felt very safe. This didn't feel like a horror film where anything could happen at any moment.

'Wolf Man' was filmed in New Zealand so there is some beautiful scenery to look at in a few scenes. It's a well made film but ultimately I think it will be pretty quickly forgotten. 6/10.

I appreciated the simplicity of the story which allowed the directing, atmosphere, cinematography and soundtrack to really be at the forefront in their storytelling.

These elements of the film made a somewhat simple story engaging and beautiful to look at on the big screen. Even for a horror movie I was surprised with the strength of the characters, family bond and overall theme of the film especially with the connection to the prior events in the past.

However, I felt the film could've been a bit more bold, took more risks and try to be inventive. Especially with the director's previous film's "upgrade" and "the invisible man" which took some risks which definitely paid off in some great and memorable moments. I just thought that the conclusion to the film teetered on lacklustre.

However, I was happy that the film did not become too over the top and cheesy in which some horror films that have come out recently have. As stated before, the simplicity of the story allowed us to focus on the characters relationship and the atmospheric setting.

All in all a solid horror film to begin the 2025 campaign however, I think a bolder final act could've made it more memorable.

"Wolf Man" is the new adaptation of one of Universal's classic monsters, a different look at what "The Wolf Man" (1941) was, is what Leigh Whannell offers in his film directed and written by him, the script touches on folkloric elements of the werewolf myth and mixes them with a family drama, giving a good but not excellent result. Although Whannell had already brought another classic Universal monster in his version of "The Invisible Man" which was somewhat overrated in 2020, in 2025 his version of "Wolf Man" is more interesting than his aforementioned previous film. The performances of Christopher Abbott and Julia Garner are good, managing to portray a marriage in crisis. The cinematography is good, and it uses the werewolf's perspective to show us his visual change from human to animal, as is the sound design, which is incredible and also takes the audience to be part of the protagonist's auditory mutation. The prosthetic makeup special effects are realistic and nostalgic in an old-school way, giving a nice touch to the subgenre that the film touches on, that of body horror. Whannell manages to introduce suspense in several scenes and knows what he wants to show on screen. "Wolf Man" is not a perfect film, and it will certainly not be the best horror film of 2025, but it is an entertaining and well-made cinematic product.

Leigh Whannell's The Wolfman is an absolute travesty, a film so bogged down by its own misguided ambition that it dares to insult its audience with every agonizingly slow, dialogue-driven scene. Christopher Abbott and Julia Garner, while undoubtedly talented actors, are wasted on a screenplay that reads like a collection of rejected first drafts from a sophomore creative writing course. Whannell's attempt to craft a "thoughtful" horror film comes off as nothing more than pretentious navel-gazing, with long, tedious conversations that add nothing to the plot and suck all momentum out of the narrative.

The werewolf design is a disgrace, looking more like a cheap Halloween costume than a creature of terror. It's baffling how a film in 2025 can fail so miserably at something that movies from the 1940s did with more finesse. Worse still, Whannell has the audacity to forgo any meaningful visual transformation sequence. The transformation-a cornerstone of werewolf lore-is entirely absent, replaced by uninspired sound effects and a lazy cutaway. This omission is not only a colossal disappointment but also a blatant disregard for the source material.

Determined to strip The Wolfman of everything that made the original story iconic... Gone are the thrills, the action, and the horror. In their place, we're subjected to a plodding, self-important drama that's more interested in existential musings than delivering even a shred of excitement. The film feels like an insult to fans of the genre, a condescending lecture masquerading as art.

The pacing is excruciatingly slow, with the film grinding to a halt whenever the characters open their mouths. The dialogue is overwrought and meandering, more suited to a bad stage play than a feature film. Whannell tries to inject tension through strained metaphors and half-baked character studies, but it all comes off as hollow and forced.