The writer-director tells IndieWire how his reinvention of a Universal horror icon reflected his own fears and anxieties during the pandemic.

For better, there's been 2020's The Invisible Man, in which writer/director Leigh Whannell left his supernatural leanings from the Insidious franchise behind for a more sci-fi-rooted horror. His Wolf Man has a similarly grim and grounded approach,

The writer and director of “The Invisible Man,” 21st-century style, is back with an interpretation of another Universal Pictures monster movie, “Wolf Man.”

“Wolf Man” then jumps ahead 30 years, to adult Blake (Christopher Abbott) out in a busy San Francisco enjoying daddy-daughter time with young Ginger (Matilda Firth). Like his father, he is very protective of his child, scolding her for not getting down from a construction structure she walks atop the moment he tells her to do so.

The filmmaker reveals the movies he screened for the Universal Monsters rebooters, discusses the importance of practical effects, and whether Bigfoot could be a Wolfman.

At the risk of sounding unintentionally patronizing, Leigh Whannell’s Wolf Man gets an “A” for effort. You can see the same mind at work that took the story of The Invisible Man and crafted an allegory about gaslighting,

For the entirety of Leigh Whannell's screenwriting career, the horror veteran has shown the gift of being able to make audiences cower in terror inside a darkened movie theater, and then, come back for more.

Leigh Whannell’s horror film Wolf Man hopes to join Den of Thieves 2: Pantera at the top of the weekend’s box office when it opens on January 17th, but judging by the mixed reviews from critics, it’s unclear how likely that’ll be.

Leigh Whannell's Wolf Man appears to be divisive among film critics. Wolf Man opens in United States theaters this coming weekend. Directed by Whannell, who previously made 2020's The Invisible Man, the Blumhouse monster movie stars Christopher Abbott,