The Wolfman ***1/2

There is something about nineteenth-century gothic horror—dark, foggy, small village, big manor, candle and gaslight—all around ominous and supernatural, that feels like an old-school, big movie scare fest. And I like it. The Wolfman has had its share of bad publicity with reports of unhappy studio execs and numerous re-edits. It definitely shows to an extent. The film is imbalanced in terms of story and it’s as if several of the actors think they’re in different movies. But in the end, special effects master Joe Johnston delivers a movie that almost makes me forget about Jurassic Park III.

Based on the original 1941 film, The Wolfman begins with Lawrence Talbot (Benicio del Toro) returning to his English home in Blackmoor after the vicious murder of his brother. Lawrence was raised in America with his aunt and had not seen his brother in years. Upon his arrival, he is welcomed by his father John (Anthony Hopkins), and his brother’s fiancée, Gwen (Emily Blunt). As Lawrence begins to investigate, he learns that many of the villagers believe that the gypsies who've set up camp outside of the town are to blame for the attack. They have a big bear, anyway.

So when he travels to the gypsies’ camp, he expects to find some answers. But before long, a beast attacks, decapitating and killing anyone in sight. The scene is a relatively well-done mash of special effects and over-the-top gore. When Lawrence chases after the beast, he is attacked and bitten.  We learn what happened to Lawrence’s mother, why he grew up in America, and most intriguing, why he spent some of his youth in an insane asylum. Are his delusions conflicting with real supernatural occurrences? Or is his fear of the full moon justified? It’s pretty clear what’s actually going on, and the film gives us some more great action sequences, one in London and another old-school showdown at Talbot Manor.

All together, The Wolfman is a fun ride with some great set pieces stringed together with an adequate plot. I enjoyed the special effects. They were well-done and in some instances over-the-top, which is exactly what you want in a supernatural horror film. I loved the contrast between the traditional cinematography and art design of nineteenth-century England with the modern effects and visuals. My suggestion? Go bold.  Go black and white.