Review: The Wolfman (2010)

The Wolfman (2010)

1.5

HORROR
U.S. Release Date: 02/12/10
Running Length: 102 Minutes
MPAA Classification: R (Violence)
Theatrical Aspect Ratio: 2.35:1
Cast: Benicio Del Toro, Anthony Hopkins, Emily Blunt, Hugo Weaving, Geraldine Chaplin, Art Malik
Director: Joe Johnston
Screenplay: Andrew Kevin Walker and David Self, based on the 1941 screenplay by Curt Siodmak
Cinematography: Shelly Johnson
Music: Danny Elfman
U.S. Distributor: Universal Pictures

Review by: Carter Moulton

2/21/10

The Wolfman does for werewolves what Van Helsing did for vampires: absolutely nothing. Benicio Del Toro is horribly miscast as Lawrence Talbot in this bland, unnecessary—but nice and gory—remake of the 1941 film of the same name. This version, directed by Joe Johnston (Jumanji, Jurassic Park III), shifts the timeframe—as depicted in the original— from the 1940’s to the always-mysterious 1890’s.

Lawrence Talbot returns to London from the Americas after receiving word that his brother, Ben, has been killed. Anthony Hopkins plays father (John) Talbot, who, for some reason, decides to become the main villain as time goes by. In search of the lunatic who killed his brother, Lawrence finds himself forever cursed as part wolf, part man.

Del Toro, an avid fan of the original film series, seems oddly bored here. His face is a cold glass of milk, emotionless and distracted. His chemistry with Emily Blunt, who plays Gwen Conliffe, Talbot’s love interest, is more like a sour glass of milk—that's two too many glasses of milk.

The Wolfman has seen a full moon of controversy. The project began in 2006 and has had its release date pushed back several times; would-be directors repeatedly jumped ship before Joe Johnston took over; Danny Elfman’s score was removed when the film underwent extensive editing, a new score—one that would eventually be discarded—was written by Paul Haslinger, and, at the last minute, Elfman’s score was re-inserted; two alternate versions of the film were shown to test audiences; and, further contributing to The Wolfman’s identity crisis, six weeks of re-shoots took place in 2009, including a brand new action sequence.

I’m not sure what is or isn’t in the film, and I don’t know when certain elements were conceptualized or executed. And to be honest, I don’t care—and neither should you. This is nothing more than cinematic regurgitation. The few highlights that peek through the trees include Hugo Weaving, who has fun in his role as Scotland Yard Inspector Francis Aberline (a play on the real-life inspector Fredderick Aberline, who investigated the killings of Jack the Ripper). Also, a montage that occurs when Lawrence is being treated in an insane asylum is done marvelously, giving this otherwise lifeless run-through a brief spark of imagination.

The Wolfman is driven not by it’s actors, nor it’s script, but by it’s special effects. The beginning of the film will make you jump, but once you see the look of the film's werewolf you’ll settle in—they look like angry Billy goats. Of course, this is probably a homage to the original film, but given the stern mood of this remake, having a Del Toro Billy goat face off against a Hopkins gruff just doesn’t work. The filmmaking is mediocre at best, with continuity errors aplenty—check out Talbot’s wardrobe magically change from blood-soaked raggedy-Annes to spiffed up Vienna sausages in a scene set in Conliffe’s street-corner store. By the time the ending sequence plays out, and a voice-over conveniently seals our casket, it’s obvious that The Wolfman is more of a whimper than a resonating howl.