All families have secrets, some darker than others. The Talbot family is no different. Along with their secrets, they have a particularly unnatural streak of seemingly cursed luck. First the death of the family’s mother Solona (Cristina Contes), and now, years later, the savage mutilation of the youngest son Ben (Simon Merrells) leaves as many questions as answers. The locals believe it to be something unholy, and the family’s lone remaining son Lawrence (Benicio Del Toro) has pledged to answer those questions in the remake of the horror classic “The Wolfman.”
Once again, Hollywood digs deep into the vault to breathe new life into a classic. Whether or not the classic needed resuscitation seems to be a question left unanswered as “The Wolfman” is brought back to life. The 1941 iconic original starred Lon Chaney Jr. and featured ground-breaking effects that would be the norm in transformation film sequences for years to come. Over the years there have been terrific takes on the genre, “An American Werewolf in London” and “The Howling” were two ’80s classics that brought the creature into our modern world. As of late, however, it seems that a small group of impossibly attractive boys are the lone standard wolfs as vampires are all the rage — until now, that is.
Del Toro takes on Chaney Jr.’s role as the cursed son of the Talbot clan. Upon returning to England with his acting troupe, Lawrence receives a message from his brother’s fianc�e Gwen (Emily Blunt). She urges him to return to the family’s estate and help locate his missing sibling. Lawrence arrives to learn of his brother’s demise and vows to unravel the mystery. He begins his search at a gypsy camp outside of the village. Before he can learn anything of great use, the camp is attacked by an impossibly quick, vicious creature, and Lawrence is critically wounded fighting the beast.
Sir John Talbot (Anthony Hopkins) helps nurse his son back to health with help from Gwen. Both are astonished to see his progress in healing, and within a week, the wound has completely disappeared. Lawrence soon learns his fate: the rising of the full moon changes him into a rampaging monstrosity bent on carnage. He’s forced to grapple with his affliction and his family’s dark secrets as he attempts to thwart the curse that has befallen him.
It is not surprising that “The Wolfman” falls short. Based on its release date, the studio had no real hope of a blockbuster. It is surprising, however, that such a strong cast is involved in something so mediocre. Hopkins, Del Toro, Blunt and Hugo Weaving as Abberline all give strong performances but are left to flounder due to a poor storyline and a very confused vision on the part of director Joe Johnston. The film delves into the psychological aspect, and it tries to pay homage to the original but neither point is addressed properly or thoroughly enough. Another surprise, given the film clocks in at more than two hours.
At times campily gory and full of fun effects, “The Wolfman” sadly never seems to figure out what it is supposed to be; homage, dramatic take on a classic or splatter-film. This proves to be the film’s fatal flaw, it’s silver bullet. One only wishes it were fired far sooner.
Rating: W W 1/2
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