SILVER BULLET THEORY “The Wolfman”, reviewed
SILVER BULLET THEORY – “The Wolfman”, reviewed
by Gregory A. Butler
As I’ve pointed out before here on the “MOVIE, REVIEWED” blog, a big budget does not necessarily a good film make.
With some films, it’s obvious they spent millions of dollars on star salaries and special effects – but they apparently got the script from the 99 cent store.
Now, that may be a bit harsh – but, with all due respect to the skills of screenwriters Andrew Kevin Walker and David Self, it applies to Joe Johnson’s “The Wolfman”.
Quite frankly, I suspect that Curt Siodmack, the writer of the original 1941 screenplay adapted by Walker and Self, might just agree with me on that!
In any case, our story begins when American actor Lawrence Talbot (Benicio Del Toro) receives an urgent letter from his brother’s fiancée, Gwen Conlife (Emily Blunt), informing him that his brother has mysteriously disappeared on the moors near the rural English estate of his wealthy adventurer father, Sir John Talbot (Sir Anthony Hopkins – yeah, he’s a real live British knight playing a British knight – and Sir Anthony is in full “Silence Of The Lambs” creepazoid mode here)
Gwen urges Lawrence to come to Sir John’s estate as soon as possible to find his brother – but, Lawrence arrives to discover that his brother is already dead – brutally killed in the woods by an unknown creature.
The locals, reverting to small town racism, blame a band of Gypsies encamped near the village – but Lawrence (and we in the audience) quickly discover that this is not the case at all.
Actually, a half man/half beast creature slaughtered Lawrence’s brother – and several other townspeople, and the hunt is on to catch and kill the creature.
Lawrence puts his acting career on hold for the moment and throws himself full tilt into the investigation.
This leads him into an exploration of the traumatic childhood death of his beloved mother, opens the doors to a forbidden love between Lawrence and Gwen and ends up with Lawrence having a chance to explore lycanthropy from the inside.
This should have been the good part of the film.
Unfortunately, at this point, “The Wolfman” becomes mired in overdone special effects, excessive and random killing, overacting and a climactic fight scene that should have been awesome but instead ended up being nothing more than well filmed stupidity.
What could have and should have been a great film ended up being…kinda wack.
[At the end, members of the audience at the AMC Empire Theater on W 42nd St in Manhattan were actually yelling out “I want my money back”!]
On paper, this film should have been awesome – but on the screen, it ended up sucking rather badly – and that’s truly unfortunate, considering the vast sums of money invested in this film and the kind of talent they had in front of and behind the cameras.
On a scale of 1 to 10 (1 is unwatchably bad – 10 is incredibly awesome) I give “The Wolfman” a 5.14.