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

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

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.

Leigh Whannell tempers the scares in Wolf Man, but ups the family melodrama, offering a tragedy in the classic Universal Monster tradition.

Bad reviews for Wolf Man shouldn't affect its opening weekend prospects, which currently have it taking the top spot with $20 million plus. If audiences feel the same way as critics, however, this wolf won't go the distance and will be lucky to get past $40 million domestically.

With Wolf Man, Leigh Whannell's latest horror film and follow-up to another classic Universal Monster reimagining -- the acclaimed The Invisible Man -- the writer/director he saw an opportunity to do exactly that with his own take on the legendary creature. What happened next was so gruesome that even the film's crew was stunned.

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,

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.

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,