The Wolfman

The Wolfman gives good horror and make no mistake this umpteenth take on lycanthropy mixes horror and period design with abandon. Universal made its name with classic horror films in the 30s and 40s like Frankenstein, Dracula, and The Wolfman. At least director Joe Johnston has a bit of taste compared to similar high octane CGI special effects directors like Stephen Sommers (The Mummy one and two) or Rob Coen (Mummy 3 or Stealth).
Benicio Del Toro is the titular werewolf although by the film's midpoint we learn that there's a second werewolf on the prowl. The action takes place in the late 19th century in and around London. How late in the 19th century? Well the London Bridge seen in the distance in one shot is complete and intact, which would put it several years past the same London Bridge as seen in the recent Sherlock Holmes (presumably taking place in the late 1880s) still under construction. Del Toro brings his persona to the film and it's big. There's not an American actor today - not even Penn or Downey, Jr. - who conveys the kind of gravitas Del Toro can bring to a glance. Whether it's a paycheck role like The Wolfman or a small film hardly seen like Che or Things We Lost in the Fire Del Toro delivers the goods. Emily Blunt, Anthony Hopkins and Hugo Weaving add spice to the recipe.
The sets range from crowded taverns to spacious manors and the costumes are top notch like you would see in something like Bright Star. The cinematography is much better that it has to be for such a gore filled endeavor. I particularly liked a moment when the werewolf rips an arm from an assailant who's holding a gun. When the bloodied limb hits the ground the gun goes off. This film mixes high production values with bloody gore (at least two severed heads). One can only hope that it's the start of a new trend. A kind of return to sinewy horror but without the preoccupation of torture porn technique.