This 'Wolfman' remake is a real dog

Posted: February 12, 2010

To be sure, there are grisly decapitations in Universal's remake of its classic horror title, The Wolfman - the tooth-and-talon handiwork of the beast that rages under a full moon. But thanks to the projectionist at a promotional preview screening at United Artists Riverview the other night, Benicio Del Toro, Anthony Hopkins, and Emily Blunt spent the first 10 minutes of this fog-shrouded dud with their heads cut off, too.

And later on, in the midst of some high drama on the moors, the film slipped out of frame again, chopping the entire cast off mid-forehead.

That said, there isn't much reason to seek out The Wolfman - even in the best of theater settings, with the most attentive management: a couple of unintended laughs as Del Toro, as Lawrence Talbot, an actor returning to his family's Blackmoor estate in 1891, and Hopkins, as Sir John, his father - a man with a dark history - pace their grand manse, talking about the monster that's disemboweling townsfolk, and other such pleasantries.

And fans of parkour, the French sport of leaping tall buildings and tumbling down stairwells, will admire Wolfy's skills as he hurdles the gables and chimney stacks of Victorian London, galloping across rooftops under a (yes) full moon, having just escaped from an asylum where he has ripped a corps of smug physicians to shreds.

Directed by Joe Johnston (The Rocketeer, Jumanji), relying on fog machines and CG effects far more than on script or performance, The Wolfman feels like a film reedited and reworked so many times it has lost all narrative rhythm and suspense. (The famously troubled project was originally slated for release in November - 2008.)

Hopkins, bearded and barmy, seems to have made the decision to play John Talbot as if he were on laudanum - his line readings are dull and distant. Del Toro, with a New York accent explained by his character's years in the States trying to make a go of a stage career, looks haggard and wan - and that's before he's savagely attacked by a creature stalking a gypsy camp one night.

And Blunt, as Gwen Conliffe - a lady who loved Lawrence's late brother - looks beautiful as she climbs in and out of carriages with great urgency, coming and going and casting concerned glances at the brooding Del Toro. What would Young Victoria have made of all the paw tracks and claw marks, the blood and guts littered across her land?

If anyone seems to be having a good time in this leaden mess it's Hugo Weaving, in the role of a Scotland Yard inspector bent on capturing the werewolf no matter what. And how will he do that? By enjoying a pint of bitter and a newspaper in the local pub, waiting for the cries of alarm to start echoing across the village square.

If you want to see a movie about the animal within us, check out Fantastic Mr. Fox. Or rent the original The Wolf Man. At least when Lon Chaney Jr. mutates into a feral monster in the 1941 version, he doesn't look like one of the Berenstain Bears.


Contact movie critic Steven Rea at 215-854-5629 or srea@phillynews.com. Read his blog, "On Movies Online," at http://www.philly.com/philly/blogs/onmovies.

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