Review: 'Wolfman' Nostalgic Creature Feature

'The Wolfman' (R) (out of four)

Sometimes you just need a good monster movie.

While "Avatar" continues to burn up box office numbers, now comes along "The Wolfman," just a good old fashioned creature feature. The latest incarnation of "The Wolfman" preserves the celluloid monster magic by bringing to mind those days of Bela Lugosi, Boris Karloff, Claude Rains and, of course, Lon Chaney Jr., who introduced the crazed wolf-crossed human to movie audiences in 1941.

Benicio Del Toro, with his dark, brooding looks, inhabits the role of Lawrence Talbot, a man haunted by the past after seeing his mother dead in a pool of blood. He was committed to an asylum after the haunting image, but has finally reclaimed his life, living in London.

He is called back to the House of Talbot, his family's sprawling country estate in Blackmoor, after his brother, Ben, is found dead in a ditch, the victim of a horrible crime.

There he is reunited with his father, Sir John (Anthony Hopkins), who has some monstrous secrets of his own. He is also drawn to Ben's fiancée, Gwendolyn (Emily Blunt), who also wants to find the answers to her beloved's death. But, in storybook fashion, Lawrence gets too close to the truth and ends up becoming a victim himself.

The setting of Victorian England in the year 1890 yields the stormy, spooky atmosphere that is prevalent through much of the movie, and sets its dark tone. The House of Talbot is cavernous, and the mansion combines to create the look and feel so worthy to recreate a classic horror film.

When Del Toro and company are living among the human world, the movie's pace is slow and prodding, but deliberately so. As any good horror film worth its salt will do, there's something scary around the corner that is conjured for shock and awe. Just when it lets you believe you're in a safe zone, mayhem ensues and the haunted house ride begins again.

Del Toro, a self-proclaimed fan of the genre, sinks his teeth into the role. As the tormented outcast, his man to wolfman transformation is a feral fright. One particular scene where an asylum psychiatrist is trying to prove to colleagues that Lawrence is delusional is particularly impressive, especially because of Del Toro's dead-on metamorphosis.

Strapped into a chair, he starts to wriggle, begging for someone to believe that any moment, as the full moon shows itself, he'll become a ferocious canine. With the help of fantastic special effects, make-up and pure moviemaking savvy, his feet begin to grow longer and hairier, his hands become gnarly, and finally he bares marvelously sharp teeth. The doctors are doomed. It's one of those monster mash moments that make the entire movie worthwhile.

At times, Hopkins' portrayal recalls the smugness of Hannibal Lecter. He entirely relishes his role as Sir John, the tough-as-nails father who has no tolerance for Lawrence's weaknesses. Here, he's the bad guy tormenting his son who is sent once again to the asylum.

Rising star Blunt, who proved herself so worthy in "The Young Victoria," once again finds a character in Gwendolyn that allows her to show vulnerability in one scene, and strength in another. She's the perfect match for Del Toro who brings the same attributes to his portrayal. Hugo Weaving as Scotland Yard inspector Aberline adds another dimension to the film with his determination to uncover the evildoings that plague the town.

Anyone expecting a new take on the classic film will be disappointed. "The Wolfman" doesn't break much new ground in the monster genre, but that's the beauty of it: It's nostalgically frightening fun.