Dangerous Animals (2025)

DIRECTED BY

Sean Byrne

STARRING

Hassie Harrison - Zephyr

Jai Courtney - Bruce Tucker

Josh Heuston - Moses Markley

Ella Newton - Heather

Genre: Thriller/Horror/Serial Killers/Killer Animals

Running Time: 93 Minutes

PLOT

A savvy and free-spirited surfer is abducted by a shark-obsessed serial killer. Held captive on his boat, she must figure out how to escape before he carries out a ritualistic feeding to the sharks below.

REVIEW

Many, many years ago, I would host an annual “Animal Summer” on this blog - highlighting some films that focused on animals doing some dastardly things. Besides October, it was probably my favorite part of the year for reviews because I’m such a sucker for animals-run-amok movies. But I’ve gotten away from it for a long while now, as I seem to only sporadically be reviewing things these days. But 2025’s DANGEROUS ANIMALS makes me want to reconsider, because this movie was more fun and sinister than I was expecting.

Jai Courtney [in probably what may be my favorite role of his] plays an Australian shark tour guide who, due to childhood trauma from surviving a shark attack, lures tourists in the middle of the ocean to murder them and feed them to sharks while videotaping the entire thing. One night, he kidnaps a young surfer [a game Hassie Harrison] who he plans on videotaping her murder. But she proves to be his biggest challenge yet, since she’s more predator than prey. While DANGEROUS ANIMALS may be marketed as somewhat of a shark movie, the title really refers to Courtney’s Tucker and Harrison’s Zephyr - two people who may be playing the predator and prey roles respectively, but are truly a match for one another in ways that they’re just as much sharks as the animals swimming in the ocean. 

Courtney steals every scene as the film’s dynamic and sinister villain. While good-looking and charming, the actor gives off right away that something is quite not right with Tucker. And the film wastes no time showing what a psycho he is, killing people on his boat and then putting a harness on certain victims to lower them with the sharks to see them get chewed up while he records it all on a camcorder. Tucker even watches the murders during breakfast, admiring his work as if he was Steven Spielberg. Courtney also has a memorable dance scene that I’m sure will be GIF’d to death.

Harrison holds her own against Courtney, playing a strong-willed young woman who refuses to be a victim. While a standoffish and kind of emotionally cold character, Harrison still manages to make Zephyr likable due to her intuition and willingness to do anything to survive. The moment Zephyr realizes she’s in a death trap, she does anything and everything she can to figure out her escape. Harrison gives Zephyr a lot of strength and manages to be as large of a personality as Courtney’s Tucker, despite the size difference. The two actors play perfect foils for one another.

I also liked the romance angle, as it actually enhanced the tension in the film. Zephyr’s one-night-stand [a charming Josh Heuston] is the only character who realizes she’s missing and uses detective skills to figure out her whereabouts before it’s too late. The discovery leads to a thrilling third act, which makes you root for the protagonists more than you probably already had.

DANGEROUS ANIMALS is directed by Sean Byrne, the man responsible for two awesome movies - 2009’s THE LOVED ONES and 2015’s THE DEVIL’S CANDY. Byrne shoots a beautiful film that’s dark, even if the cinematography is bright and colorful. Every frame, every character interaction, every chess move Tucker and Zephyr make against each other - they all matter and you’re rewarded at the end for how it all comes together. The sharks look great and the gore is pretty gnarly when it does occur. I appreciated the serious tone [for the most part], as a lot of modern shark films come across as silly or unrealistic. Byrne seems to have a lot of respect for these beautiful creatures and I appreciated it.

All in all, DANGEROUS ANIMALS is one of my favorite horror films of 2025 at the moment. It’s a simple, yet engaging thriller that focuses on the true crime aspect of the human cat-and-mouse game of survival, with sharks used as a plot device and murder weapon of choice. Hassie Harrison makes for a great Final Girl, while Jai Courtney is at his best here as a charming, yet demented villain that will probably gain some sort of cult status. 

SCORE

3 Howls Outta 4

(8 out of 10)

The WTF? Extravaganza Presents: Hurry Up Tomorrow (2025)

Directed By: Trey Edward Shults

Starring: Abel Tesfaye (The Weeknd), Jenna Ortega, Barry Keoghan, Riley Keough

Genre: Music/Thriller

Running Time: 106 Minutes

PLOT

A musician plagued by insomnia is pulled into an odyssey with a stranger who begins to unravel the very core of his existence.

REVIEW

From the trailers, I didn’t really know what to make of The Weeknd’s HURRY UP TOMORROW. The soundtrack, which was released months prior, was a fine album but maybe a bit too long. His HBO show, The Idol, didn’t exactly win me over enough to finish the damn series. Considering he’s one of the most streamed music artists out there and has accomplished more than most modern musicians have, I wondered why Abel Tesfaye would want to try his hand at acting when he doesn’t seem like that’s his bag. But then again, modern It girl Jenna Ortega and Oscar-nominated actor Barry Keoghan are helping him with this project, so there must be something to it, right?

With HURRY UP TOMORROW, I was expecting The Weeknd’s THE WALL or PURPLE RAIN - a sort of fictional autobiographical film about his life and career that would boost his musical artistry. Instead, we get like an hour of The Weeknd moping around and badly dealing with his addictions - music, drugs and especially women. Between performing for his fans and being enabled by his manager (Keoghan) who just feeds him drugs and boosts his ego to make sure he still has a job [and be Tesfaye’s “real” friend too, I guess - is he in love with Tesfaye? I don’t even know], The Weeknd is constantly on his phone texting or calling an ex-girlfriend who has left him. If The Weeknd was portrayed as a likable guy, this wouldn’t be an issue. But he’s whiny and lashes out when she doesn’t respond to him, especially while he’s high on cocaine. His ex dodged a bullet here.

During all this, we get Jenna Ortega’s character Anima, whose first impression is of her pouring gasoline in someone’s house and lighting it up into flames. She then evades cops, steals more gasoline and drives to see The Weeknd at a concert since she’s a huge fan. Obviously her toxicity shares in his, so a match made in heaven?

So with 45 minutes left, these two people finally meet and you feel relieved that the film is finally getting to its point. These two miserable souls will hash out their BS and find a way to move forward happier together. They connect and find solace in each other and it’s all nice and dandy.

Until it isn’t and the rest of the film becomes a ripoff of late-80s/early-90s thrillers like MISERY, FATAL ATTRACTION, THE CRUSH and so on. If it weren’t for the people involved, this would have played on a Saturday night on Lifetime with no one talking about it once Monday came along. Instead, this is just an embarrassing project for everyone involved. 

The only real positives about HURRY UP TOMORROW are the direction/cinematography [Trey Edward Shults has made better films and Chayse Irvin thankfully makes this film pop visually] and Jenna Ortega’s performance as a troubled young woman, which is breath of fresh air over the usual emo characters she’s been playing the last few years. The music is obviously enjoyable as well, so that’s another plus.

Barry Keoghan is wasted here and Abel Tesfaye needs to stick with music and let others handle the acting and screenwriting for his ideas from now on.

HURRY UP TOMORROW drags and stumbles towards the finish line with unlikable characters and a narrative that would have played out better in a shorter film or music video. If it wasn’t for the striking visuals, the music and Jenna Ortega’s against-type performance, this would have been a complete waste of time. The Weeknd is not a good actor and maybe should consider behind-the-lens work for his next project instead. If I wasn’t an AMC A-List member, I would have been severely pissed off if I had spent over $20 on this movie. I have a feeling Razzie voters will consider this one “Timeless” for next year’s nominations…

SCORE

1 Howl Outta 4

Superman (2025) & The Fantastic Four (1994) w/ The DTV Connoisseur (Episode 220)

In this episode, I joined Matt Poirier of DTVC Podcast as we look at the recent SUPERMAN (2025) movie and 1994's THE FANTASTIC FOUR film.

With the first one, we discuss our feelings about the film overall, then what this may mean for the balance of power between Marvel and DC, and also whether or not "superhero fatigue" is an issue now.

Then with the second film, we get stuck in on this Roger Corman classic (?). What works, what doesn't and how much it differs from comic book movies now.

Invasion USA (1985) w/ The DTV Connoisseur

In this episode, I joined Matt Poirier (the DTV Connoisseur) as we look at the 1985 Cannon classic, INVASION USA. Before that, we discuss Marvel Studios' THUNDERBOLTS* (recorded prior to its release), and where things are going for the MCU. Then with the film, we get into Chuck Norris as the hero, and then instead of doing a full walkthrough, we go over the many highlights.

Horror 101 w/ Dr. AC: STEPHEN KING'S MISERY (1990) AT 35 - STORIES & SLEDGEHAMMERS!! | HORROR HISTORY

(I recorded this awhile ago with a cool panel of people and forgot to share it. So here it is. Enjoy!)

MISERY (1990) d. Rob Reiner (USA)

Rob Reiner's 1990 psychological thriller Misery, based on Stephen King's bestselling novel, remains a masterclass in tension and suspense. Tonight, our panel of horror enthusiasts celebrates the unforgettable performances (James Caan, Kathy Bates, Lauren Bacall, Frances Sternhagen, and Richard Farnsworth), the film's themes of obsession and captivity, and screenwriter William Goldman’s breathtaking adaptation which retains the spirit of the source material while also changing key elements for the screen.

Foremost, however, we'll examine the dynamic between Paul and Annie, and how their complex relationship evolves under the oppressive circumstances, with Bates' Oscar-winning portrayal of Annie Wilkes balanced against Caan’s nuanced and atypical sensitivity.

Join AC and his awesome panel of guests (Jess Ader, Dodd Alley, Jordy Sirken, and yours truly) as we tap into the heart of Misery’s unsettling atmosphere and cultural significance. What makes Misery more than just a horror film? How does it tap into deep-seated fears and anxieties about fame, vulnerability, and fan culture? Be sure to bring your sledgehammers!

Horror 101 w/ Dr. AC: THE BEST (AND WORST) SLASHERS OF 1980!! | HORROR HISTORY

(I recorded this awhile ago with a cool panel of people and forgot to share it. So here it is. Enjoy!)

WHO WANTS TO TALK SLASHER MOVIES??? 

TITLES DISCUSSED: Friday the 13th, To All a Good Night, Terror on Tour, Don't Answer the Phone, Don't Go in the House, Prom Night, Terror Train, He Knows You're Alone, Mother's Day, Funeral Home, Christmas Evil, New Year's Evil

The 1980s were a pivotal year for horror films, and the decade kicked off with some of the most influential entries in the genre! Join our panel of horror experts as we discuss the origins, lasting impact, and evolution of the slasher, covering everything from the technical aspects to their cultural significance, changing the landscape of cinema forever. 

Key films such as Friday the 13th introduced the world to Jason Voorhees (and became a cultural phenomenon in the process), while Canadian offerings like Prom Night, Terror Train, and Funeral Home added their own unique twists to the formula, setting the stage for a wave of imitators.

We’ll explore the masked killer tropes, the rise of Final Girls, and how these films captivated audiences with their ground-breaking gore FX, suspenseful stalk and slash sequences, and unforgettable characters.

Whether you're a die-hard fan or a newcomer to the genre, our conversation about the blood-soaked slasher movies of 1980 has something for everyone!

The Monkey (2025)

THE MONKEY (2025)

Directed By: Osgood Perkins

Starring: Theo James, Tatiana Maslany, Christian Convery, Colin O’Brien, Adam Scott, Elijah Wood, Rohan Campbell, Sarah Levy, Osgood Perkins

Genre - Horror/Comedy/Supernatural

Running Time - 98 Minutes

Plot:

When twin brothers find a mysterious wind-up monkey, a series of outrageous deaths tear their family apart. Twenty-five years later, the monkey begins a new killing spree forcing the estranged brothers to confront the cursed toy.

Review:

Building upon the success he had with last year’s horror hit LONGLEGS, Osgood Perkins joins James Wan and Stephen King with adapting King’s short story, THE MONKEY. While LONGLEGS was meant to unsettle its audience with a supernatural true crime vibe [as well as an out-there performance by Nicolas Cage], THE MONKEY takes the opposite approach by making a dark joke out of its premise for laughs. The film’s dark humor approach towards the film’s death scenes and overall look on the idea of grief and moving on from trauma will most likely divide moviegoers expecting something more serious in its commentary. 

Personally, I had a lot of fun with THE MONKEY. While not as clever or sophisticated, the film reminded me of the FINAL DESTINATION series with its bizarre set ups to the demises of the movie’s characters. The use of a cursed toy monkey causing all this unpredictable chaos is a neat idea, although I would have liked to know more about its origins and why it was so intent on hurting people while growing attached to others. Maybe that’s in the short story, I don’t know.

The humor comes from the characters, who are extremely quirky and pretty much say whatever is on their minds without holding much back. Death is almost treated as a matter-of-fact joke that’s so messed up, you have to laugh about it. No one really takes any of the characters dying all that seriously. Hell, even a church pastor gives a sermon that feels more like a stand up routine than an actual eulogy. Even a montage of people dying within a week to unbelievable deaths is treated as something that normally occurs in this universe. While I’m sure many will not connect with any of this, I felt it made THE MONKEY an entertaining viewing experience. Considering how dark the world has been in 2025 so far, it was refreshing to smile and chuckle over the ridiculous ways people died and how others approached them. For a thin plot - it’s really just a toy monkey terrorizing twins over 25 years - it carries some important themes pretty well.

Osgood Perkins’ direction continues to impress. Great pacing and editing, the quirky tone maintains throughout, and the death sequences hit. THE MONKEY is a lot gorier than I was expecting it to be, considering Stephen King adaptations aren’t known for being gory horror movies. The use of both practical and CGI effects are used very well. And I liked that the film looked kind of grungy, yet popping with vivid colors [mainly red] for a lot of the film’s short runtime. His direction for LONGLEGS is probably stronger overall, but Perkins shows that he can be visually playful in terms of sound design and striking edits. It feels like a long episode of Tales From the Crypt and I enjoy that vibe.

The cast is also very good. Theo James has a great voice for narration, while also giving two different performances as twin brothers [one nerdy and the other more of a bully]. I thought he played both the introvert and insecure brother, as well as the more evil and deranged brother very well. Christian Convery plays his younger versions believably well also. I also felt that James shared nice big brother/father chemistry with the more grounded Colin O’Brien.

Always nice to see some familiar faces as well. This includes a wonderful performance from Tatiana Maslany as James’ quirky mother, as well from an almost unrecognizable Rohan Campbell as a young man who takes drastic measures to get his hands on the toy monkey. Also enjoyed the cameos by Adam Scott, Elijah Wood and Oz Perkins himself. Everyone seemed to be playing against type and having fun with it.

It’s bananas how my two favorite films so far in 2025 involve apes [I see you, Robbie Williams and BETTER MAN]. Looking forward to what Perkins brings us with KEEPER later this year.

SCORE

3 Howls Outta 4

(8 out of 10)

Def By Temptation (1990) w/ The DTV Connoisseur

In this episode, I joined Matt Poirier as we look at the Troma cult classic, DEF BY TEMPTATION. Before that, we look at CAPTAIN AMERICA: BRAVE NEW WORLD [which has now been released in theaters] and what 2025 could look like for Marvel Studios. Then with the film, we get into how we each found this gem, what about it works so well, and then look at highlights.

Heart Eyes (2025)

DIRECTED BY

Josh Ruben

STARRING

Olivia Holt - Ally 

Mason Gooding - Jay Simmons 

Gigi Zumbado - Monica

Devon Sawa - Detective Hobbs

Jordana Brewster - Detective Jeanette Shaw

Michaela Watkins - Crystal 

Genre - Horror/Slasher/Comedy/Romance

Running Time - 97 Minutes 

PLOT

When the “Heart Eyes Killer” strikes Seattle, a pair of co-workers pulling overtime on Valentine’s Day are mistaken for a couple by the elusive couple-hunting killer. Now, they must spend the most romantic night of the year running for their lives.

REVIEW

Slasher films about Valentine’s Day have always seemed like a fun and good combination for decades. 1981’s MY BLOODY VALENTINE pretty much started the trend, featuring a memorable killer in Harry Warden in his coal miner’s outfit and pick-axe. It was even brought back in the 2009 3-D remake to similar success. We’ve also had 2001’s VALENTINE with its cherub looking Cupid killer, as well as Hulu’s Into the Dark anthology series that featured two horrific Valentine’s tales to varied success.

It should be no surprise that 2025’s HEART EYES successfully brings both horror and Valentine’s Day together in a fun way. The film would totally fit right in the late-90s/early-00s post-SCREAM nu-slasher revival, while also working as a spoof or satire on romantic comedies with all the tropes and cheese firmly in place. The simple premise pretty much involves the hulking Heart Eyes Killer [or HEK for short] traveling to a different city each year to murder happy couples for reasons unknown to only him or her. HEK arrives in Seattle, only to catch main protagonists Ally and Jay fake a kiss in front of Ally’s ex-boyfriend out of jealousy and mistakenly making them targets for the killer. Romantic tropes, slasher goodness and on-the-nose needle drops ensue.

HEART EYES doesn’t bring anything new to the slasher table, pretty much bringing what MY BLOODY VALENTINE had kind of done for a modern audience. But the film does these old tricks very well, giving you exactly what you would want in a modern slasher. Besides a lack of nudity, the film doesn’t really shy from the violence. While nowhere as gory as something like TERRIFIER, there are some nice gooey death sequences in HEART EYES. People get impaled and slashed by daggers. A victim gets crushed while hiding inside a wine juicer. There’s also crossbow action, as well as a sick looking decapitation that earns the film’s R rating. I thought the effects were handled very well.

Unlike other Valentine’s Day horror, HEART EYES also acts as a sweet rom-com that makes you root for the two leads to get together at the end if they manage to survive the night. Ally and Jay love the same type of coffee, bump heads [literally] at the same time, work in the same profession and manage to understand each other even if Ally [who is still not over a bad breakup] tries to sabotage any chance for love. And when they come together to survive HEK’s rampage, you watch their bond grow and it feels satisfying to watch them fall in love. That’s due to a smart and strong script that fleshes out these two characters, making them very likable and understandable when it comes to their individual perspectives. Add in a supportive and sassy best friend and a sarcastic police department and you have characters you care to watch for 97 minutes.

If I did have a main gripe, it’s probably HEK’s reveal in the final act. I partially got it right, but the entire reveal felt like the writers [mainly HAPPY DEATH DAY’s Christopher Landon] just wanted to be wacky and make up something to shock and surprise people. No one would guess the entire thing correctly since a lot of it was never hinted at or established like in other slasher mysteries, making it seem like an idea that was thrown at the wall to see what would stick. I appreciate how progressive and modern the reveal is and I thought the action during the conclusion was quite good. But the reveal itself didn’t connect with me because it came out of thin air.

The direction by Josh Ruben is energetic and well thought out in terms of set pieces and sound design. The film is never scary and not meant to be, but the romantic comedy aspects are solid and the tone maintains throughout. The Heart Eyes Killer is used very well, having some creepy moments from time to time. I thought their mask having night vision through the heart eyes was a neat touch that I wish more was done with. The death sequences and gore were shot really well. It’s not the most dynamic or memorable film visually, but Ruben did a very good job keeping it all together and maintaining a fun tone that I’ve seen a lot of other filmmakers have trouble with. Maybe it feels too much like the current SCREAM films, but it’s still well made.

What really won me over is the acting. I think both Olivia Holt and Mason Gooding are wonderful as the two leads, Ally and Jay. Holt is adorable, has nice comedic timing, and makes her a cool Final Girl who takes charge when she needs to. Gooding, no stranger to slashers due to his association with the current SCREAM sequels, is extremely charming and funny as hell in terms of his facial expressions and line delivery. Honestly, I think Gooding would make a fantastic romantic lead for a rom-com because he has all the tools to pull it off effortlessly. I also enjoyed the supporting performances by Devon Sawa and Jordana Brewster, playing two very different detectives on the HEK case. With Sawa’s bad-cop named Hobbs and Brewster’s more good-cop named Shaw, that obvious joke does present itself - with Brewster’s no-selling of it making it even funnier. And special mention to Gigi Zumbado as Monica, Ally’s best friend. She’s not in the film as much as I would want her to be, but Zumbado makes every scene she’s in funny and memorable. 

Also, a big shout out on the soundtrack. With songs like “Lonestar” by Amazed, “Please Don’t Go” by KC & the Sunshine Band and “You Can’t Hurry Love” by The Supremes, this film has a solid song list.

THE FINAL HOWL

HEART EYES doesn’t reinvent the slasher wheel, but it’s still a fun time for those looking for a good Valentine’s Day horror film to watch. It also surprisingly works as a cute rom-com, just with a serial killer murdering happy couples [whether they know they’re in one or not]. The story is simple and straightforward, yet clever with an obvious wink-and-nod at certain tropes for both horror and rom-com genres. The script also presents likable characters, including two main characters you can’t help but root for in getting together by the movie’s end. This is helped greatly by the charming performances by both Olivia Holt and Mason Gooding, who share a ton of chemistry and play off each other extremely well. Josh Ruben also handles the gory sequences nicely, while maintaining a consistent tone that balances the horror with the romance. While the reveal itself didn’t exactly excite me or win me over and the film has this SCREAM feel you can’t escape, I think HEART EYES is a worthy watch during Valentine’s Day week for any horror [or even rom-com] fan.

SCORE

3 Howls Outta 4

(7 out of 10)

Wolf Man (2025) *Might contain spoilers*

DIRECTED BY

Leigh Whannell

STARRING

Christopher Abbott - Blake Lovell

Julia Garner - Charlotte Lovell

Matilda Firth - Ginger Lovell

Sam Jaeger - Grady Lovell

Benedict Hardie - Derek

Genre: Horror/Supernatural/Body Horror/Werewolves

Running Time: 103 Minutes

PLOT

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.

REVIEW

It’s funny - I had reviewed the original 1941 THE WOLF MAN earlier this month in preparation for, what I had believed, was a modern remake or retelling of the same story. I had even debated whether to watch and/or review the 2010 remake, but I felt that I would dislike the 2025 adaptation more if I had. I wanted to go into 2025’s WOLF MAN with a fresh set of eyes and judge it for its own merits without comparisons to whatever came before it.

But lo and behold! 2025’s WOLF MAN isn’t an actual remake at all! It has no Larry Talbot. There are no Romani fortune tellers. I don’t think I even caught a full moon. It has family, love, and a man changing into… something. But it’s not the Universal WOLF MAN you’re used to.

And that’s one of my main issues with this version of the story - I feel the title is a bit misleading. Yes, there’s some legend about men turning into wolves and technically there are wolf-looking men in this movie. But WOLF MAN is less of a werewolf film and more of a body horror movie that’s akin to David Cronenberg, mainly 1986’s THE FLY. It’s a horror film where someone gets infected and begins to transform for the entire film, until that person decides to attack the people closest to them. Yes, main character Blake gets scratched and becomes more of a wolf creature. But he’s not technically what one would expect a werewolf to look like either. I respect the change but the title is advertising something audiences are probably not expecting [or even wanting out of a film like this].

The film also struggles with getting its message across in a meaningful way. 2020’s THE INVISIBLE MAN turned the original story on its head to craft a fantastic horror movie about abuse and PTSD. It just happened to star a man who could turn invisible and traumatize the main character with that ability, making characters in the film wonder if she’s going crazy or her outbursts about her ex-boyfriend being invisible are true.

WOLF MAN seems to be about not wanting to repeat the same mistakes our parents did so it won’t pass on to future generations. The prologue doesn’t shy away from this, as young Blake is raised by a strict military father who barks orders rather than show love and affection for him. He’s also hiding his own secrets, which makes Blake turn on him as he grows up. In order to do that, Blake is a bit more loving with his daughter Ginger [nice GINGER SNAPS homage], who dotes on her father and seems closer to him than to her workaholic mother Charlotte. However, Blake continues to feel guilty anytime Ginger acts out or doesn’t listen to him, turning him into his father. It seems while avoiding the past, Blake can’t seem to shake it off for his present and future.

While this commentary is great, it’s not handled in a deep way. The father-daughter aspect is done well, but the rest of the relationships could have used more time. There’s issues between Blake and Charlotte that aren’t really elaborated on besides that she works so much that she feels she’s not a good mother to Ginger, while Blake is a stay-at-home dad who probably isn’t being the best husband and father financially. But we barely spend time with this couple before shit hits the fan, so it’s hard to tell whether the marriage has been rocky for a long time now or this is just a recent event. Plus considering that Charlotte and Ginger don’t have the strongest relationship, the film’s focus would be more on that. While the two do grow closer due to the events in the film, I never got a sense their relationship will improve, although I suspect it would. Plus the “Sins of the Father” deal gets hammered into your head maybe too many times that it soon becomes too much on the nose when the “twist” occurs.

I also felt WOLF MAN was pretty tame in terms of scares and action. The film relies on jump scares for the most part, using the sound design to jolt audiences. But no one in my showing really fell for any of them, which is telling in how much they worked. And while some of the gore is pretty gnarly at times, Whannell seems to shy away from it quite a bit. Some people get murdered or eaten and we just see the aftermath, which is a shame. Plus, there are action moments - including one between two wolf people - that should be the film’s highlight. But instead, they’re cut pretty short and just feel like an afterthought. Maybe it’s because of the budget or Whannell was going for something with broader appeal, but it takes away the energy and intensity from WOLF MAN.

Fortunately, the film does have things going for it. The actors all do well with what they’re given. I feel Julia Garner kind of got the short straw here, as she’s reduced to playing frightened mother and wife for the most part. But she handles it well and convinces you that she’s confused and terrified by what’s going on. Matilda Firth could have played Ginger as a kind of annoyingly precocious child, but she gives the character a level of intelligence that makes her fit with the adult actors. She handles fear well, but also has a charm about her that makes you care for her relationship with her parents. She’s good in the role. The real star here is Christopher Abbott as Blake, who is game for anything asked of him. He plays a great dad. He plays a husband fighting for his marriage. He plays a man struggling with his two lives. And as he transforms into the Wolf Man, he becomes scarier and more intense as he goes from man to beast within a short time. Walking on all fours is kind of goofy, but Abbott goes for it and I respect it. Plus, I liked him in the makeup [even if I have mixed feelings on the look] and thought he conveyed his metamorphosis well. Solid actors who needed a better script to play around with.

I also liked some of Whannell’s directorial choices. The use of the wolf powers was actually a cool idea. It had a superhero origin vibe, where the subject is realizing he or she is becoming something else by realizing they have abilities no human should have. The loud sounds and the gurgling of sound when people talk to Blake was a nice touch. I also loved the wolf sight that would come in and out, reminding me of Detective Mode in those Batman Arkham games. I feel Whannell was more focused on the style of the film rather than the substance here. I mean, that’s fine for some horror directors but we’ve seen Whannell stand out because of the substance in his works. So while I liked the film visually [it’s a nice looking movie], he’s capable of better.

THE FINAL HOWL

If you’re going into WOLF MAN looking for a traditional werewolf movie, you’re going to be seriously disappointed. If you’re looking for something different, you’ll still probably be disappointed but maybe you’ll get something out of it. The issue with this film is that it plays things way too safe. It has a strong commentary about the sins of the father and how their actions affect their children, but it never really goes deeper than that, preferring to predictably play things out on the surface without any subtlety. Same with the relationship between the characters, as their dynamic has no depth other than they have issues that need to be worked on. Also, the film isn’t scary at all and when cool action happens, it’s cut away to something else.

But at least the performances are pretty good, especially by lead Christopher Abbott, who gives his all as both human and wolf-man. And the film has a good visual style going for it, especially when the wolf powers [or “Detective Mode”] come into play. The body horror aspect had some gnarly moments that picked up the film’s intensity at times. It’s also paced very well, as this film blew right by despite my issues with it. And I respect a new way of looking into the Wolf Man character, even if it doesn’t fully work for me. 

Considering what Leigh Whannell has done in the past, his version of WOLF MAN is pretty weak and disappointing. Considering how much I loved THE INVISIBLE MAN, I felt that this was a severe drop in quality. Maybe some of you will get a kick out of this adaptation, but I don’t think it’s really anything to moon over. It’s fine at best.

SCORE

2.5 Howls Outta 4

(6 out or 10)