Throughout the 1930s and into the 1940s, genre movies dominated Hollywood and each studio had its specialty.  MGM made its living on splashy movie musicals, while Warner Bros. practically invented the gangster film.  Meanwhile, with films like Frankenstein and Dracula, Universal became a major player thanks to its monster movies.  One of its later entries into the genre was 1941’s The Wolf Man.  Now, the studio reinvents the classic with Benicio Del Toro in the role made famous by Lon Chaney, Jr. all those years ago.

The plot of the remake is similar to the original, but with some very key differences.  Lawrence Talbot, a famous actor, returns to his ancestral home in England following the mysterious death of his brother Ben.  Rumors of the murderer have spread throughout the local village.  Some believe the violent death was caused by the local Gypsies’ performing bear, while others think it is the act of a crazed lunatic.  The wildest rumor is that of a werewolf and it is expressed by one of the tavern patrons in true schlocky monster movie fashion.

While interviewing the local Gypsies about his brother’s death, Lawrence is attacked and bitten by the beast.  As the legend foretold, the bite of the werewolf transforms him into one.  Captured by the local authorities and locked up in an asylum, Lawrence is subjected to a number of tests which are more like torture than anything scientific.  In an effort to prove to Lawrence that it is all in his head, the sadistic doctor locks him in a room filled with onlooking scientists.  Big mistake.

Having already made effects-heavy films like Jumanji and Jurassic Park III, director Joe Johnston has proven to be a talent when it comes to directing effects-driven films, and The Wolfman is no exception.  The CGI effects used to turn Del Toro into the Wolfman are top-notch as there can hardly be any complaints about the film’s production values, aside from a couple of shots that stand out as obvious green-screen backgrounds.

It comes as no surprise that one of the more impressive aspects of the film is the makeup work done by legendary makeup artist Rick Baker.  This was a dream job for Baker, who considers the 1941 film to be one of the main reasons he entered into the profession.  It’s difficult to tell where the makeup ends and the CGI begins, but it doesn’t really matter as both are flawless.

In terms of the story, it is fairly conventional.  There’s no surprise upon learning the identity of the film’s true villain and it is pretty clear where the story is going when the Gypsy woman advises us that only a woman that loves him can quell the beast.  Also, although the film did have its share of scares, they were mostly the result of cheap shocks as a general feeling of tension and suspense is never really generated.

No suspense was required, however, for the film’s best scene.  When the doctor leads a strapped-in Lawrence into small, crowded room and advises that tonight he will prove to his inmate that it is all in his head, the entire audience is on the edge of its seats in anticipation.  They are not disappointed.

The Wolfman is far from a great film, but it doesn’t necessarily aim for greatness.  It’s a violent, schlocky monster movie with great production values that doesn’t pretend to be what it isn’t.  Del Toro, Emily Blunt, Hugo Weaving all came to play, and Anthony Hopkins gets yet another chance to chew up the scenery.  Monster movie fans should enjoy it.

The Wolfman is rated R for “bloody horror violence and gore.”  Heads will be chopped off, organs eaten, etc. So if that’s not your thing, I’d recommend you stay away.

Courtesy of a local publicist, Jeff attended a promotional screening of The Wolfman.