The 'Invisible Man' writer-director talks about tackling another Universal horror icon for a horror movie reflecting the anxieties of COVID.

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.

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,

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

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,

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 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.

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,