With his marriage fraying, Blake persuades his wife Charlotte to take a break from the city and visit his remote childhood home in rural Oregon. As they arrive at the farmhouse in the dead of night, they're attacked by an unseen animal and barricade themselves inside the home as the creature prowls the perimeter. But as the night stretches on, Blake begins to behave strangely, transforming into something unrecognizable.
- rg94001日前I had seen the terrible reviews for this movie, but I went in with an open mind because the Leigh Whannell had built a strong track record with Upgrade and then a similar Monster Movie in The Invisible Man. The Invisible Man felt tense, looked great, and had strong themes throughout. Unfortunately, that is not the case here. Wolf Man manages to basically fail in almost every category except cinematography and sound design. At times it really does look and sound great, showing glimpses of the director's potential. But I cannot stress enough how the story is completely limp. It is exactly what you predict, but it takes almost 2 hours to get there. It meanders along like its main character. Initially hinting at some interesting themes of parenthood, the movie quickly gets lost in a very uninteresting and drawn out monster chase story. Julia Garner and Christopher Abbott are utterly wasted because there is no concept of characters or plot here. Maybe if this was a short 15 minute film, it could have worked better. The contrast between this and The Invisible Man is so stark that I cannot believe they were made by the same person. It is a staggering juxtaposition of quality that just baffles me. The worst part is that when the movie actually has some cool cinematography, I would just be stuck wondering about what could have been.
- Shaydeknight2025年10月1日Leigh Whannell’s Wolf Man isn’t the disaster some critics make it out to be, nor is it the reinvention of the werewolf myth that some fans hoped for. It’s a film caught somewhere in between: strikingly beautiful at times, emotionally resonant in flashes, but uneven in depth and pacing. In terms of visual storytelling and perception shifts, the most memorable sequences are the perceptual transitions, such as when a stark, dark cabin shifts into a luminous, almost fae-like vision during a husband-and-wife attempt at communication. These moments are not only striking cinematography but also powerful visual metaphors for emotional distance and attempted intimacy. Unlike many werewolf films that lean on gore or demonic evil, Wolf Man roots its horror in the family dynamic. The father’s love for his family is central, his defense of them against all threats underscores this. It sets the film apart from portrayals that treat werewolves purely as malevolent creatures. The idea that the werewolf is an animal, not a demon, comes through most clearly here. But then, unfortunately and frustratingly, it dissolves. Christopher Abbott and Julia Garner carry the film with grounded performances, managing to sell both the quieter domestic scenes and the moments of terror. Even if the script doesn’t fully flesh them out, the actors lend their characters gravity. With regard to cinematography and atmosphere, Whannell knows how to shoot a horror film. The interplay of shadow and light, the use of tight framing, and the transformation scenes (even if imperfect) have a visceral quality that lingers. And yes, there are issues. The film introduces weighty topics like inheritance, trauma, and family cycles of abuse, but doesn't actually dig into them. They’re more indications of depth than sustained explorations. Further, there are long stretches of domestic drama that dilute the tension a bit and many story beats unfold in a predictable way, undercutting the suspense. And at times, it feels like the film leans too heavily on cool visual techniques (like perception shifts) rather than developing characters or story arcs to the same level. But even with all those problems, Wolf Man isn’t a bad film. It’s flawed but at least it's ambitious. For those who love werewolf stories (like I do), it's wonderful in its attempt to treat the creature as an animal caught between love and instinct, not as an inherently evil entity. The family-centered lens, striking cinematography, and occasional bursts of real emotional resonance give the film value. But its reluctance to fully explore its themes or deliver sustained tension keeps it from being the definitive werewolf film fans still long for. It's a beautifully shot, emotionally uneven take on the werewolf myth. It's worth seeing, especially for fans of the genre, but not quite the masterpiece I wanted it to be.
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Wolf Manは2025年1月15日に公開されました。
Wolf ManはLeigh Whannellが監督を務めました。
Wolf Manの上映時間は1h 43mです。
Wolf ManはJason Blumがプロデューサーを務めました。
With his marriage fraying, Blake persuades his wife Charlotte to take a break from the city and visit his remote childhood home in rural Oregon. As they arrive at the farmhouse in the dead of night, they're attacked by an unseen animal and barricade themselves inside the home as the creature prowls the perimeter. But as the night stretches on, Blake begins to behave strangely, transforming into something unrecognizable.
Wolf Manの主要人物はBlake (Christopher Abbott), Charlotte (Julia Garner), Ginger (Matilda Firth)です。
Wolf ManはGと評価されています。
Wolf Manはホラー, スリラー, サイエンスフィクション映画です。
Wolf Manは、視聴者によって10点満点中5.4点をつけられています。
Wolf Manの予算は$2500万です。
Wolf Manの興行収入は$3680.6万です。