'Wolf Man' Reviews: "a worthy, thoughtful addition to Universal’s monster movie canon and a compelling argument that the wolfman still has plenty of bite"

     On January 17, 2025, Universal Pictures releases 'Wolf Man', which has received a mixed reception from critics, currently holding at 61% on Rotten Tomatoes at the time of this writing. "From Blumhouse and visionary writer-director Leigh Whannell, the creators of the chilling modern monster tale The Invisible Man, comes a terrifying new lupine nightmare: Wolf Man. Golden Globe nominee Christopher Abbott (Poor Things, It Comes at Night) stars as Blake, a San Francisco husband and father, who inherits his remote childhood home in rural Oregon after his own father vanishes and is presumed dead. With his marriage to his high-powered wife, Charlotte (Emmy winner Julia Garner; Ozark, Inventing Anna), fraying, Blake persuades Charlotte to take a break from the city and visit the property with their young daughter, Ginger (Matlida Firth; Hullraisers, Coma). But as the family approaches the farmhouse in the dead of night, they're attacked by an unseen animal and, in a desperate escape, barricade themselves inside the home as the creature prowls the perimeter. As the night stretches on, however, Blake begins to behave strangely, transforming into something unrecognizable, and Charlotte will be forced to decide whether the terror within their house is more lethal than the danger without." But what did the critics say?

   Seth Katz of Slant Magazine says, "After such high-profile flops as 2010’s The Wolfman and 2017’s The Mummy, the latter of which failed to launch Universal Pictures’s intended Dark Universe franchise, came a rare standout amid the studio’s ongoing project of rebooting its classic horror movies: Leigh Wannell’s The Invisible Man, which reframed the 1933 film (based on H.G. Wells’s novel) as an extreme case of stalking and gaslighting. While this ostensibly feminist spin on the story earned the film some appreciation, its pointed topicality was less compelling than Wannell’s masterful orchestration of suspense and, during the middle stretch, use of a single location. Following that success, Wannell has been given the reins to Wolf Man, nominally based on the 1941 version with Lon Chaney Jr. that, along with its sequels, proved to be one of the most influential entries in Universal’s monster cycle. As with The Invisible Man, there isn’t much tying this new version to the original other than the title. In fact, Wolf Man retains almost none of the well-known lore around the werewolf. There’s nothing here about the full moon or a silver-handled cane, nor is the word “werewolf” even used. The most familiar and predictable notion is that someone who’s wounded by a werewolf and survives will become one." Adding, "The theme gets muddled here, though, as the film contrasts Grady’s stern parenting with Blake’s gentler approach, with the idea being—as the infection takes hold—that he’s trying not to turn into his father. Third-act revelations telegraphed within the first few minutes are treated as big surprises as Wannell struggles to overcome the obviousness of his story construction. More confounding, the wolfman design is more generally demonic than specifically lupine. Blake’s transformation—which for some reason sees him going bald even as his body hair grows—occurs gradually rather than recurrently, and the use of special makeup effects is convincing. Yet the film misses out on the rich gothic atmosphere traditionally mined for this genre, opting instead for murky compositions and a self-serious tone that robs the proceedings of any potential fun. Wolf Man neither embraces the fundamentals of the werewolf folklore from which it draws nor convincingly reinvents them, landing instead in somber, predictable territory, dully satisfied with a few cheap jump scares and a perfunctory nod to thematic resonance."

Photo by Jared Murray on Unsplash

   Matt Oakes of Silver Screen Riot notes, "Much of what makes Wolf Man effective is its economy. The story revolves primarily around the family trio, with only a handful of minor characters appearing along the outskirts. This tight focus works in the film’s favor, creating an intimacy that amplifies the tension and the tragedy. As Blake shares with Charlotte after his father’s death, “I realized that you’re all the family I have left.” But like a rabid dog, friend and foe become indiscernible under the confusing spell of instinctual violence. Whannell roots much of the emerging terror in this family’s isolation, underscoring how small their world becomes—trapped in the woods, far from their city life—as they are stalked by a beast that once sought only to protect them. This theme of inverted instinct is mirrored in Blake’s transformation, where his primal instincts threaten to consume the connections he’s dying to preserve. Wolf Man suffers from being a little too tidy, its narrative edges smoothed to a fault, and its mythology only faintly sketched. While there are nods to deeper lore—such as an introductory title card invoking an obligatory Native American legend—the film never fully commits to weaving these elements into its DNA. The result is a climax that feels restrained when it could have been explosive, leaving a lingering sense that Wolf Man is content to stop just shy of greatness. The ending, while thematically consistent with the film’s balance of heart and horror, resolves too neatly, missing the kind of raw emotional devastation that might have elevated it into a modern classic. Nevertheless, Whannell’s craftsmanship and clear affection for the material shine through, making Wolf Man a thoroughly satisfying thrill ride that doesn’t shortchange its own internal logic or well-established melodrama. It’s a chilling fable about being unable to protect your family from the forces of the world — from both external threats and the internal forces that pull us apart. And, like a derelict pickup truck, while it may not quite shift into the next gear, it’s a worthy, thoughtful addition to Universal’s monster movie canon and a compelling argument that the wolfman still has plenty of bite."

   Emma Kiely of Collider writes, "What makes the majority of Wolf Man such a disappointment is the first twenty minutes. The opening act promises a far more interesting tale than the one we eventually get. The insight into Blake’s childhood is a Leave No Trace-type story, blending horror mythology with tense human drama. But just when the film starts garnering steam, it skips 30 years, and the whole story falls into the same, repetitive trappings of the latest Blumhouse fare. A family of half-written characters who, in an attempt to come closer together, find themselves in the crosshairs of a waking nightmare. Blumhouse yet again promises a horror experience like no other only to serve up a boring, contrived family drama that lacks scares and hammers home the importance of the all-American family unit." 

'Wicked' Enchants Critics

         On November 22, 2024, Universal Pictures released 'Wicked: Part I', which has earned rave reviews from critics, currently holding at 92% on Rotten Tomatoes at the time of this writing, alongside a Critics Consensus that reads, "Defying gravity with its magical pairing of Cynthia Erivo and Ariana Grande, Wicked's sheer bravura and charm make for an irresistible invitation to Oz." The ensemble cast includes Michelle Yeoh, Bowen Yang, Ethan Slater, Jeff Goldblum, Marissa Bode, and Jonathan Bailey. Read the full review round-up below.

        Robert Kojder of Flickering Myth says, "Wicked: Part 1 rarely has a dull moment and puts almost every minute of its 160 into something majestically arresting and character-forward while concluding on an emotionally rich, natural stopping point."

        David Crow of Den of Geek praises the film, stating, "Wicked manages to levitate above whatever cynical commercial considerations weigh it down, or for that matter what any critic might have to say about those limitations. This thing is built to last as a monument to theater kids for generations to come." Adding, "Yet it is the movie’s old-fashioned theatrical impulses that prove to be its real superpower. Or, to put a finer point on it, Erivo and Grande can really sing, and they do so often in live and spectacular fashion. A friend I saw the picture with was even surprised to learn that most of their singing was performed in-camera, even when Erivo is being flung on wires and a broom 40 feet above the soundstage floor."

Photo by Alex Kalligas on Unsplash

       Fionnuala Halligan of Screen International notes, "A Black actress playing a green witch could seem to overload Elphaba’s outsider status, but Erivo masters every subtle grace note to give a performance that is both accomplished and emotional. Garland also captured that same sincerity of wounded, innocent yearning in an entirely different way (not a comparison that should be made lightly, admittedly). Composer and lyricist Schwarz fills the screen and the room with orchestrations that really do bring back the memory of the full-blown Hollywood musical. Adaptations that have taken this pre-Christmas exhibition slot of late – from Wonka to West Side Story, Mary Poppins, The Greatest Showman and beyond – have tended to shuffle around the full embrace of the screen musical’s baked-in staginess. Joker: Folie A Deux even denied itself as a musical. Holzman, who wrote the musical book and adapts it here, embraces it all, including the peculiar Ozian language, enhancing the otherworldliness of where the film is taking us. Combined, it’s a propulsive force to be reckoned with. Or should that be a melting force? What happens next? Wicked dares to leave the audience at the half-way mark, with Part II already shot and set for release this time next year (November 21, 2025).  That’s beautiful wickedness indeed."

Movies that Deserved Better: 'Dead Silence'

         On March 16, 2007, with a streaming release on November 19, 2013, Universal Pictures released 'Dead Silence', which received a mixed reception from critics, currently holding at 21% on Rotten Tomatoes. In the film, "After his wife meets a grisly end, Jamie Ashen (Ryan Kwanten) returns to their creepy hometown of Ravens Fair to unravel the mystery of her murder. Once there, he discovers the legend of Mary Shaw (Joan Heney), a murdered ventriloquist whose eerie presence still looms over the town. As he desperately digs for answers, Jamie encounters the curse that took his wife's life and threatens his own." The ensemble cast includes Donnie Wahlberg, Amber Valletta, Bob Gunton, and Judith Roberts. But what did the critics say?

       Felix Vasquez Jr. of Cinema Crazed notes, "Dead Silence” is less a film about a killer puppet, and more a film about the madness behind the puppet. Was Mary Shaw really undead, or were her puppets keeping her alive? Whanell and crew never really make it clear to us, but they do create a truly creepy horror character that works mainly because she’s so utterly horrifying to look at. “Dead Silence” has a genuine novelty to it, and one that works to compliment the puppets that play as constant plot devices. Wan’s direction is just great as he has a blast using darkness as a truly interesting characteristic for the film, all the while using swooping camera angles and good old fashioned creepy settings to build the suspense all the while attempting to build a story." Adding, "Aside from having a bland leading character, and an obnoxious antagonist (really, what was Donnie Wahlberg’s purpose in this affair?), the film never truly has a clear narrative in mind until the second half where it all comes crashing down. I won’t say this was a complete win for the boys from “Saw.” The film most definitely has plenty of inherent flaws, but in spite of it all, it’s also a very creepy little ditty that works once it rears up to the second half."

        Frank Scheck of Hollywood Reporter praises the film, stating, "Director Wan demonstrates that he's equally effective working in a more classical vein, especially with his skillful use of chilling low-key sound effects and silence in several scary sequences."

Photo by Robert Zunikoff on Unsplash

        Scott Collura of IGN Movies says, "It's great seeing Wahlberg getting the chance to have fun with the character, who proves to be a highlight of the film, and one almost wishes he might get his own spin-off film or series at some point"

       Scott Tobias of AV Club was less impressed, stating, "Even without the mechanized death that made the Saw movies such a sensation, it doesn't take long to realize that director James Wan and writer Leigh Whannell are merely trying to replace one twisty, gimmicky franchise with another."

        Personally, I really enjoyed this movie. Ryan Kwanten was the standout in terms of acting, giving his best performance outside of 'True Blood'. Donnie Wahlberg was solid as well and his performance during the big reveal scene was equal parts great and hammy all at once. The script could have progressed less rapidly and quite honestly, this movie would have been better as a television limited series. Given the year, 'AHS' could have had some competition. 

'Speak No Evil' Reviews: Film is "frankly terrifying"

Photo by John Jackson on Unsplash

         On September 13, 2024, Universal Pictures releases 'Speak No Evil', which has received predominantly positive reviews from critics, currently holding at 88% on Rotten Tomatoes. In the film, "When an American family is invited to spend the weekend at the idyllic country estate of a charming British family they befriended on vacation, what begins as a dream holiday soon warps into a snarled psychological nightmare." The ensemble cast includes James McAvoy, Mackenzie Davis, Alix West Lefler, Scoot McNairy, and Aisling Franciosi. But what did the critics say?

        Elliott Collins of Movie Files says, "Like the original, this an story about allowing people to cross boundaries without stopping them. It doesn’t leave you with such a sickening feeling as the original but offers a more accessible and more of a crowd pleasing experience."

       David Jenkins of Little White Lies notes, "Watkins’ slick direction and McAvoy’s frankly terrifying performance make this an effective, worthy if not essential entry into the “If you go out to the woods today…” creepy canon."

       Avi Offer of NYC Movie Guru praises the film, stating, "Speak No Evil takes a while to get going because the first 30 minutes are essentially nothing more than exposition as Ben and Louise meet Paddy and Ciara while on vacation in Tuscany before returning to their home in London. With their marriage on the rocks, they accept an invitation to visit Paddy and Ciara despite barely knowing them. The film works best if you either haven't seen the Danish movie or haven't watched the trailer which, as usual, gives away too much. There aren't any surprises, though, because it's clear from the beginning that Paddy can't be trusted and that something sinister will be transpiring from the moment that he offers to taste a piece of roasted chicken to Louise despite that she's a vegetarian." Adding, "The plot is at its most suspenseful during its psychologically thrilling, Hitchcockian moments as Paddy gradually asserts dominance over Ben and Louise. Small details like his collection of watches become more important later on. A scene where he pretends to get head from his wife while at dinner with Ben and Louise is just an example of his twisted mind games. It's a funny scene that's equally disturbing. When the film turns into a much less subtle, pulse-pounding action thriller, that's when it takes a bit of a nosedive and abandons logic and plausibility. One minute Paddy's eye looks noticeably red and irritated, the next it looks fine. One minute Ben breaks his legs, the next he's able to walk. That said, the terrific ensemble cast manages to elevate the film and to breathe life into their roles. James McAvoy is superb here as is Scoot McNairy. The child actor Dan Dough gives a breakthrough performance here which is on par with Haley Joel Osment's performance in The Sixth Sense. At a running time of 1 hour and 51 minutes, Speak No Evil is a gripping and well-acted Hitchcockian thriller. "

‘Twisters’ Reviews: “Twisters is a delightfully entertaining thrill ride that drops you into the heart of the storm and leaves you there until the bombastic conclusion.”

         

                                                          Image via Universal Pictures

          On July 19, 2024, Universal Pictures released ‘Twisters’, the sequel to the 1996 classic ‘Twister’. The sequel has received predominantly positive reviews, holding fresh at 78% on Rotten Tomatoes alongside a Critics Consensus that reads, “Summoning a storm of spectacle and carried along by the gale force winds of Glen Powell's charisma, Twisters' forecast is splendid with a high chance of thrills.” In the film, a former storm chaser joins returns to the field in order to test a new tracking system and experiences terrifying multiple storm systems in the state of Oklahoma. The ensemble cast includes Daisy Edgar-Jones, Maura Tierney, Sasha Lane, Harry Hadden-Paton, Anthony Ramos, and David Corenswet. Read the full review round-up below.

        Michael Ward of Should I See It writes, “Much like Twister in 1996, 2024’s Twisters is entertaining enough. Directed by Oscar-nominated filmmaker Lee Isaac Chung (Minari), this modern-day disaster film has plenty of talent in its ensemble cast including everyone’s favorite actor right now, Glen Powell (Hit Man, Anyone but You). Powell joins Daisy Edgar-Jones (Fresh) and Anthony Ramos (In the Heights), bringing all the charm and rizz he can muster, while Edgar-Jones offers the scientific seriousness we need for dramatic heft and Ramos shares an entrepreneurial mind when it comes to the business of storm chasing.” Continuing, “Where Twister had best-selling novelist Michael Crichton as a co-writer, the 2024 sequel has a screenplay by Mark L. Smith (Midnight Sky) which never fully connects us to the stakes at play. While Edgar-Jones and Ramos are good together, Powell’s arrival as Tyler provides comic relief and marquee appeal. Tyler is a YouTube superstar, and has cultivated an online presence with his ragtag group of stormchasing daredevils to millions of followers. Tyler represents everything antithetical to Kate and Javi’s interests. But because this is Glen Powell we are talking about, Kate naturally becomes intrigued by Tyler and Javi is left to go crunch some numbers.”

        Aaron Peterson of The Hollywood Outsider notes, “Twisters is a delightfully entertaining thrill ride that drops you into the heart of the storm and leaves you there until the bombastic conclusion. If you loved the original Twister, prepare for yet another ride into the extreme.” Adding, “The storms are catastrophic and brought gloriously to life with exceptional special effects, and the taut direction by Lee Isaac Chung grasps you firmly and tosses us directly into the storms path. It has always been a bit of an oddity, the audience’s obsession with natural destruction that could factually occur in their own backyard. Perhaps it’s that plausibility that endears us. And the effects in Chung’s film, as well as his flexibility in staging scenes (skillfully measuring quick cuts with long establishing shots to maximize the tension), create an exceptionally nerve-racking anxiety that only the best disaster films can muster.”

Tina Kakadelis of Beyond the Cinerama Dome praises the film, stating, “Twisters is a good, old-fashioned blockbuster. It’s the sort of heart-racing, tear-jerking fare that earns itself a place among the greats.”

Joe Friar of Fort Worth Report says, “Glen Powell and Daisy Edgar-Jones take the summer by storm in the fast-paced thrill ride. The special effects are the stars, but in the hands of Chung, there’s plenty of heart on display, making this successor the perfect storm.” Continuing, “Hollywood’s current leading man hot ticket, Glen Powell, shows up as Tyler Owens, a famous YouTube storm chaser nicknamed the “Tornado Wrangler.” His face is on a t-shirt, he shoots fireworks into tornadoes, and his ragtag crew mirrors the cast of the 1996 film. He’s a good ole boy with a million-dollar smile. His slogan, “If you feel it, chase it!”