Slashing The Seats

Universal’s attempts to update it’s classic monster properties have so far met with little success, instead inflicting the likes of Van Helsing on audiences and squandering some truly great premises, and while The Wolman won’t be to everyone’s taste, it’s certainly a step up from CGI fests such as The Mummy.

From the get go, there’s a very different feel about this film – that’s ‘film’ as opposed to ‘movie’ – with a pervading sense of dread that matches the original. The opening hunt scene showcases the Werewolf as a dangerous, feral predator lurking in the foggy wastes, and while there’s certainly a touch of CGI enhancement to the mist drifting about, it’s a fun, scary addition that we haven’t seen since American Werewolf’s moor-stalking.

After the quick and surprisingly bloody intro, we bump into the victim’s brother Lawrence Tutwell (Benicio Del Toro, cheekily foreshadowing events as he plays the lead in an on-screen production of Hamlet) and the film scores a genuinely huge bonus with it’s leading man, bringing a detailed, grounded and pathetic character rendition to the screen. Indeed, the presence of so many genuinely heavyweight thesps brings a gloriously Hammer-esque feel to proceedings – straight faced, and as such adding a delicious sense of camp without resorting to knowing winks or cheesy one liners. Director Joe Johnston certainly can’t be accused of talking down to his audience either, engaging with complex psychological questions – albeit with a light touch – as Del Toro questions if his transformations are real or a dream.

Indeed, this may turn out to be the film’s downfall; whether the measured plot and slow-ratcheting tension will hold the attention of a mainstream audience remains questionable, but the overall effect is engaging and never resorts to cat-in-cupboard moments to generate scares.

As the conclusion looms however, the action cranks up, the Wolfman stalking the city streets for an action-packed hunt, while there’s a lovely sequence at a masked ball that gives Johnston the chance to drop in his visual reference quota with marvellous, wryly amusing results.

While this may benefit from some editorial tightening, it’s nice to see a mainstream blockbuster that isn’t scared of taking it’s time with an ordered plot and engaging storyline. The cast are marvellous and we can only hope that this thinking monster movie marks a precedent after the woeful Steven Sommers excesses of previous attempts.

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