Wolf Man is what you’d expect from a January horror release—an underwhelming entry in the genre despite being helmed by a talented director, Leigh Whannell. While Whannell brings creative elements to the film, the flat story and predictable twist fail to elevate it into a recommendable experience.

The film starts promisingly, with good chemistry among the lead characters. Christopher Abbott delivers a heartfelt performance as Blake, a caring family man mourning the presumed death of his father. Julia Garner as Charlotte, Blake’s wife, and Matilda Firth as their daughter, Ginger, add emotional depth. However, things unravel as soon as the story ventures into the spooky woods.

Wolf Man attempts to claw its way into the werewolf genre with a gritty tone and some ambitious ideas, but the execution leaves a lot to be desired. From its uninspired storytelling to the clunky dialogue, the film stumbles far more often than it howls. Honestly, I wouldn’t recommend this one—but if you’re curious and want to see it for yourself, this is your moment to stop reading and come back later. Spoilers are ahead, but for this film… it really doesn’t matter all that much.

The family’s decision to pack up Blake's missing father’s belongings should easily lead the audience to believe that his dad’s mysterious disappearance means he is the Wolf Man that begins to chase the family. Unfortunately, the third-act reveal of the father’s identity as the wolf man is entirely underwhelming, stripping the story of suspense. Horror enthusiasts may find the reliance on cheap jump scares rather than thrills or big surprise reveals disappointing.

Whannell incorporates intriguing visual and narrative techniques, such as altering the color grading when Blake transforms into a wolf. Seeing from his perspective—where his wife’s words become gibberish—offers a fascinating look at his inability to communicate. These moments showcase Whannell’s creativity but cannot save the lackluster narrative.

The film’s resolution, which involves Blake’s wife shooting him to protect their family, feels hollow and predictable; it’s either an underwhelming tragedy with the wife and daughter dying (which feels senseless) or killing off the protagonist due to his unhealable condition. Nothing is groundbreaking. For a horror film, there is little lasting impact or meaningful takeaway. The makeup and practical effects are solid, elevating the film a bit. The brisk 103-minute runtime helps the film avoid overstaying its welcome. Still, these elements can’t compensate for the uninspired plot.

Whannell’s The Invisible Man (2020) demonstrated his ability to elevate a premise with shocking twists and innovative storytelling. In comparison, Wolf Man lacks the same ingenuity and emotional weight, resulting in a merely average film. While the director’s experience ensures the movie avoids being a total disaster, it falls far short of its potential.