Maybe it’s just me, but lately there seems to have been an influx of werewolf movies. This seems especially true over the past few years. Now here we are we in January and we already have our first one of the year. It’s “Wolf Man”, a Blumhouse reboot of the 1941 Lon Chaney horror classic “The Wolf Man”. This latest iteration is helmed by Leigh Whannell who impressed with 2020’s superb “The Invisible Man”.

Written by Whannell and his wife, Corbett Tuck, “Wolf Man” takes a dark and gory look at a number of themes through the lens of an old-fashioned monster movie. With a struggling family of three as its centerpiece, the story deals with such subjects as family, parenthood, troubled pasts, and clinging to one’s humanity. Interestingly (and somewhat disappointingly), there’s very little in terms of mythology or folklore. More on that in a second.

Christopher Abbott plays Blake Lovell, a writer and stay-at-home dad who lives in New York City with his wife Charlotte (Julia Garner) and their young daughter Ginger (Matilda Firth). Blake and Ginger and very close despite his tendency of being overprotective. But his relationship with Charlotte isn’t as strong. She pours a lot of time into her job as a journalist and not only has it come between her and her husband, but it has also left her feeling disconnected from Ginger.

One day Blake is notified that his estranged father, Grady (Sam Jaeger) has officially been declared dead by the state of Oregon after being missing for a long time. Grady was a survivalist living in an isolated farmhouse deep in the Oregon wilderness. Blake left that life as soon as he was old enough and he hadn’t spoken to his father since. Now his father’s homeplace has fallen to him and he needs to make a trip out west to pack up his dad’s things.

Realizing their need of some family time, Charlotte agrees to go with Blake to Oregon with hopes it will bring her closer to her husband and daughter. But it doesn’t take long for things to go bad. Less than a mile away from his father’s place, Blake swerves to avoid a strange figure standing in the middle of the road, causing him to wreck their moving truck. As they climb out of the wreckage a creature suddenly attacks, clawing Blake across the arm before they’re able to run away into the night.

The family makes it to Blake’s father’s house and lock themselves inside while the creature prowls outside looking for a way in. From there “Wolf Man” turns into a story of survival that takes place over the course of that one harrowing night. As its title suggests, the creature is indeed a ‘wolf-man’ and it quickly becomes obvious that Blake is infected with whatever animal-borne disease it is carrying. His symptoms start light but quickly turn more grotesque as he begins to change right before his frightened family’s eyes.

The movie chronicles the family’s fight to survive the night, not only from the creature outside the house but also the one within. Though not as metaphorically rich as “The Invisible Man”, there is still plenty of symbolism in the material. The rest is just good old genre fun. The baked-in tension is accompanied by a healthy amount of gore which fits well with the creature’s ravenous brutality. And then there’s Blake’s painful transformation which is captured practically through the prosthetics and makeup wizardry of effects designer Arjen Tuiten.

Again there’s no traditional Wolf Man mythology to speak of. There is no full moon, no silver bullets, no fur-covered body. In fact there’s not much information at all outside of some brief and scant opening script. The film’s infection angle has its benefits but it can also seem like a shortcut which (for better or worse) allows Whannell to focus on other things. Overall it works, but it would have been nice to have a little more background into something so primally and terrifyingly transformative.

As is often the case with so many movies like this, not all of the character choices make sense. In “Wolf Man” some are downright baffling. Yet we still find ourselves invested in this family’s plight, partly due to Whannell never letting us lose sight of their familial bond. It’s also aided by great performances from Abbott, Garner, and Firth. And though most of it takes place in the dark of night, we still get some stunning Oregon scenery that helps creates an isolated setting that’s both beautiful and forbidding.

As it is, “Wolf Man” doesn’t break the mold but it doesn’t exactly embrace it either. It lands somewhere in between, working best as pure genre entertainment with a few compelling themes on its mind. It’s not a movie that will stick in your memory. But it’s well made and noticeably better than the slew of recent werewolf movies that have come our way. “Wolf Man” is now showing exclusively in theaters.

VERDICT – 3.5 STARS

Julia Stiles makes her directorial debut with “Wish You Were Here” – a sweet, earnest, but sadly formulaic romantic drama that has its heart in the right place but hinges on a few too many tired clichés to get by. Yet while its story is all too familiar, it does offer Stiles the opportunity to show what she can do behind the camera. And it gives the talented Isabelle Fuhrman another noteworthy lead role outside of her entertaining Orphan films.

“Wish You Were Here” is an adaptation of a 2017 novel of the same name written by Renée Carlino. It’s penned for the screen by Stiles and Carlino and stars Fuhrman who worked with Stiles on “Orphan: First Kill”. Their real-life connections show themselves in the film’s strengths, namely in the story’s lead character (played by Fuhrman) who is easily the movie’s most compelling piece. If only the other characters weren’t so thinly sketched.

The story follows a pretty standard blueprint that will be recognizable to anyone who has ever watched a romance turned weepie. Fuhrman plays a young woman named Charlotte who at 29-years-old has found herself in a rut. She works a go-nowhere job at a Mexican restaurant and after several bad experiences (and despite her family’s best efforts to hook her up) she has lost all interest in dating.

But that changes following her chance meet-cute with a street artist named Adam (Mena Massoud). The two have some drinks, paint a mural together, and impulsively go to his place for a romantic nightcap. The next morning a smitten Charlotte wakes up to find Adam cold and adrift. He promptly reminds Charlotte that they’re not a couple which instantly turns her warm feelings to dejection.

Months pass and Charlotte can’t get Adam out of her mind. That’s when she gets a unexpected visit from Adam’s friend and neighbor Stacy (Jane Stiles) who delivers a letter he wrote following their night together that explains why he was so quick to let her go. The heartfelt letter reveals that he had a brain tumor and is now in the hospital with terminal cancer. Charlotte goes to him leading to a rekindling of their relationship which takes on a tender but heartbreaking new form.

Interestingly, Charlotte and Adam don’t spend as much screentime together as you might think. Their relationship bookends what is Charlotte’s struggle to find her place in the world. As she does, a number of underdeveloped side characters pop in and out of her story including her flighty best friend Helen (Gabby Kono-Abdy), her straight-shooting mother (Jennifer Grey) and empathetic father (Kelsey Grammer), and the sweet guy waiting in the wings, Seth (thanklessly played by Jimmie Fails).

Sadly, none of the supporting roles carry much weight. Even Adam sometimes come across as a stereotype rather than a fleshed-out person. And the story itself follows the same path as so many others before it. It even gets a little absurd later on. Take when a weakened Adam is barely able to utter a sentence and then moments later is slipping out of the hospital with Charlotte for a playful afternoon on the beach.

But even with its flaws, “Wish You Were Here” remains interesting thanks to Fuhrman’s emotionally layered and authentic performance. And it’s clear that Stiles has a career in the director’s chair. She especially impresses with the camera, using it in a number of sumptuous ways, from intimate closeups to subtle arc shots. It may not be enough to carry this particular movie, but it does excite us for what she’ll do in the future. “Wish You Were Here” opens January 17th.

VERDICT – 2.5 STARS