Lawrence Talbot's childhood ended the night his mother died. His father sent him from the sleepy Victorian hamlet of Blackmoor to an insane asylum, then he goes to America. When his brother's fiancée, Gwen Conliffe, tracks him down to help find her missing love, Talbot returns to his father's estate to learn that his brother's mauled body has been found. Reunited with his estranged father, Lawrence sets out to find his brother's killer... and discovers a horrifying destiny for himself. Someone or something with brute strength and insatiable blood lust has been killing the villagers, and a suspicious Scotland Yard inspector named Aberline comes to investigate.Written by
When Lawrence Talbot is walking back to Talbot Hall, he passes a tablet that states it is 16 miles to Blackmoor. In 1891, the metric system was not yet popular in Europe. Even in 2014, much of Britain still holds out on the metric system in favour of imperial measurements (miles, yards etc.) for distances. See more »
It was about twenty-five years ago now. My pa found him: Quinn Noddy and all his flock. Brains, guts and God-knows-what lying across the moor. And the look on Quinn's face. Like he'd been eaten alive. Whatever did it, it was big, had claws, and didn't mind a load of buckshot. After that, me father went home. He melted down my ma's wedding spoons, and cast silver bullets off 'em. He wouldn't leave the house on a full moon from then on.
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The planet in the Universal logo glows white. See more »
Alright. When a pic is called 'The Wolfman', expectations aren't too high to begin with. But at least you expect an otherwordly atmosphere, a few thrilling scenes and, when Del Toro and Hopkins are involved, some decent acting. Nothing of the above was to be found in this faint copy of a copy. The dialogues were poorly written and Hopkins must have thought so as well, because he just rattles his lines as if only screentesting. Del Toro, as much as I adore him in others pics, is extremely miscast in this pic, having the same pained expression on his face in every scene. It's pretty safe to say the make-up artists won't win an Oscar either: Hopkins looks just like the character he played in Legends of the Fall, after the stroke, and Del Toro is wearing a wig which attracted my attention more then anything else. The only credit must be given to Hugo Weaving who, disregarding everything else, tried to make the best of his scenes. The storyline is not only predictable (which is not always a bad thing), its construction is painstakingly artificial which makes the characters look uncomfortable and implausible. As a result I could't care less about what happened to the characters and the scare-effects were lost to me. If anything, I had a few laughs.
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