Wolfman (Remake) (Director’s Cut)
I must admit, I had some fears going into this updated version of the Immortal 1941 Horror Classic, mostly based on the idea that it would be a big, overly CGIed pile of nothing ala Van Helsing, but actually was pleasantly surprised to see that the computer graphics were kept to a minimum, and even better, about a third of the way in, realized that the acting was actually quite exceptional as well. This probably has to do with director Joe Johnston (who has done mostly PG fluff films to this point) assembling a top-notch cast to bring this material to life, starting of course with Benicio Del Toro as Lawrence Talbot. Like Lon Chaney Jr. before him, Del Toro brings almost a primal, bestial quality to the character even before he’s cursed, but like Chaney, balances it with a humanistic side that forces the viewer to emphasize and even find some touching sympathy for the hellish circumstances that have befallen him; He’s supported ably by Anthony Hopkins as his aristocratic father with a cold streak a mile wide; Emily Blunt as the girl who was engaged to his late brother whom he finds himself having a connection with as well; Max Von Sydow in a short but cool cameo passing on to him a cane that serves as an homage to the original; and best of all Hugo Weaving as the Scotland Yard Inspector who takes on the case and vows to track the beast down, most impressive since Weaving takes what would be to any other actor a nothing, stock role and turns it into something special with his one of a kind charisma, vocal inflections, and mannerisms. The only disappointment here is probably Geraldine Chaplin as the old gypsy woman Maleva: there is no sense of the ominous malevolence or foreboding sense of doom that Maria Ouspenskaya brought to the part in the original, as instead it seems that the director brings the character on and rushes through her bits of business onscreen without giving her the dramatic weight that was so memorable in the previous incarnation. It can also be said that as with so many other remakes, reimaginings, and the like, it suffers from a messy, overwritten script, with too much plot for its own good as well as too many minor characters that never add up to much. However, the mood and look of the period setting is spot on, and thankfully the gore and makeup FX by Rick Baker (who collected yet another Oscar for his work here), look like the real, raw deal here, giving the proceedings that sense of in your face realism that CGI can never duplicate (though obviously some more complex shots do utilize that technique). There is also a major twist in the story that makes it different than how the original plays out, but it’s actually pretty clever and allows the climax to be action-packed and exciting as well without feeling like selling out. Overall, one of the better remakes as of late, no doubt because it’s been nearly 70 years since the release of its predecessor…
8/10