"Wolf Man" has moments of suspense and psychological tension but leans too heavily on jump scares and a weak story, says film critic Peter Travers.

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.

Is there a greater monster to society than a mother who doesn’t know how to bond with her child? Or, perhaps, the woman who prefers to be at work where she’s confident, and successful - than at home,

While other people were making sourdough and learning how to play the bongo drums during the Covid lockdowns, Aussie Leigh Whannell and his American wife Corbett Tuck made the most of the nightmarish scenario by turning it into a horror movie.

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.

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,

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 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,