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31 out of 35 people found the following review useful: cerebral horror at its finest, 22 June 2004 Author: dr_foreman
"Wolf" posits that the werewolf bite is not necessarily a curse, if what you really crave is a more wild and natural lifestyle than is possible in our "civilized" society. Quite cleverly, the story is set in a publishing company, an environment that is both civilized and predatory at the same time. Nicholson gives one of his best performances of recent years here, playing against type - he's actually a nice, normal guy! Spader, on the other hand, does what he always does; he acts like a sleaze, and very good he is at it, too. Pfeiffer makes a tough, proactive heroine, and gets a much better part than you'd expect for a woman in a horror film (horror is very much a boy's genre, I'm afraid).I'm going to get snooty here and suggest that most people just don't understand "Wolf," probably because its ideal audience is quite small. Fans of Nicholson's usual drama fare dislike the movie for its horror content, and fans of violent horror dislike the movie because it's lacking in action and gore. But if you like thoughtful horror that has more brains than blood, you're part of the small group of people who'll get something out of this.
33 out of 39 people found the following review useful: A Classy Werewolf Story, 17 September 2006 Author: ccthemovieman-1 from Lockport, NY, United States
Here's a werewolf movie done with some style and some class. This may be the only werewolf-business world combination. It features effective villains played by James Spader and Christopher Plummer. I've always found Spader an easy guy to dislike, in any film.Jack Nicholson is the lead guy, however, and is refreshingly low-key, especially for him. I don't believe he ever raised his voice in this movie, acting very subdued throughout.There isn't as much action as you see in most modern-day horror movies but yet this is such an intense story that you don't lose interest. It's pretty good in the visual department, too, and it doesn't hurt to ogle Michelle Pfeiffer.Even though the profanity is pretty low for a '90s film, when it's there it's needless. They could could have done this movie, believe it or not, without any and it still would have been good. I'm not complaining. I still recommend this, but not for people who are looking for an action--packed vampire film.
32 out of 40 people found the following review useful: Wolfman Jack - 8 (excellent depiction of the corporate werewolf culture), 20 January 2005 Author: jimboduck from Massachusetts
Even in the confines of big skyscrapers, it's a dog eat dog world.Simply put, WOLF is a class act. The director is legendary. The acting is subdued yet electrically charged. To top things off, the classic, almost Hitchcock-esquire score by Ennio Morricone draws you in from the opening credits straight to the end. WOLF is such a unique and stylish addition to the werewolf tradition that it easily bursts through the bars of any category you place it in.Mike Nichols boasts a career that is a study in itself. After artistically defining a post-war generation with the Graduate in 1967, he has been very selective with his projects behind the camera. Twenty-seven years after the Graduate, the veteran Nichols rises to the challenge of weaving a wide range of adult themes into one coherent werewolf movie. Stylistically, the shots and cinematography featured in the movie hearken back to an adventurous 70's spirit that has been abandoned in modern film. The combination of quick and slow zooms, along with expansive cuts of open spaces make the 125 minute story both rhythmic and engrossing.WOLF is not the conventional werewolf movie we're accustomed to seeing, as the film is meant to induce a snicker as opposed to a scream. Although the scare factor takes a marked jump towards the end, the movie isn't really a horror movie. It focuses mostly on the canine tricks of corporate power, double-crossing, and primordial carnal knowledge. In this respect, James Spader upstages Jack Nicholson and almost steals the show.Still, there's all the good stuff that comes with werewolf movies. The curse is a contagion transmitted by a bite. Who's the monster, and what makes the monster fearsome? What happens when Jack starts to turn? How far can Mike Nichols upset our comfort level? For all those horror fans out there, the make-up team did a superb job, no doubt influenced by the disjointed transformations of the original black and white wolf-man classic.As a telltale sign of the film's sophistication, the werewolf theme is dramatically eclipsed by the true storyline – Nicholson's over-the-hill struggles in the publishing business. In the final examination, with corporate culture in mind, WOLF tends to resemble Wall Street or As Good as It Gets more than it does the Howling or American Werewolf in London. Nichols does a masterful job seamlessly weaving canine trickery into the workplace. Jack's heightened sense of smell detects his coworker's early morning Tequila. His pointed ears pick up juicy office gossip. In addition to these scenes, WOLF introduces an innovative corporate idea – urination and marking of territory, something that every sensible dog does when he feels like it!The only detractor from WOLF is the quick and dirty relationship between Pfiffer and Nicholson. Even though the film is billed as a werewolf movie, this relationship somewhat stands as a centerpiece. To be sure, the sparse exchanges between the two stars feature witty dialog with plenty of chemistry. But despite this potential, the relationship somehow rings hollow and gets trampled beneath the other story lines that are taking place.Apparently Sharon Stone was offered the female lead but turned the role down. To some extent, I don't blame her. The development of Michelle Pfiffer's character in the movie was something of a question mark.The Pfiffer-Nicholson love story culminates in WOLF's unique ending. If you happen to catch this movie, you can frolic through the woods with Jack along to Morricone's synthesized arpeggios. Then determine for yourself whether the ending adds or detracts from the movie. It's been a quandary for me ever since I saw WOLF for the first time in 1994.JYJimboduck-dot-com
26 out of 32 people found the following review useful: Nicholson is a wolf... no surprise, 4 December 2000 Author: Anders Åslund (anders.aslund@xpress.se) from Karlstad, Sweden
I like this film. It is different as a horror movie, because it really isn't a horror movie - and yet here we have a man turning into a wolf, he starts killing people at night, and we have the rabid horror music stalking our ears when the wolf is on the prowl.I like the characters, I like the slow pace and the calm moments and I especially like Jack Nicholson when Randall's senses start to come alive. He is extremely well cast for this film, I don't think many others would actually convey the animal inside like he does. Pfieffer's character is, although formulaic, a relief among all the hard-assed men of this film. The ending is a bit silly, but nonetheless odd and intriguing.Yep.I like this movie. It's fun to watch and it's great to see Nicholson act like the animal we all really think he is but don't dare to find out.
19 out of 22 people found the following review useful: Brilliant visuals and excellent acting create a very underrated film., 8 November 1999 Author: Richard Brunton (imdb-update@brunton.org.uk) from Edinburgh, Scotland
I saw this film when it first appeared in the cinema and I can remember my disappointment at the wolf scenes. Now, five years on, I realise what a gem this film is.The cinematography is very well done, providing slick shots throughout which still hold their own against current films. The acting is very good with James Spader oozing sleaziness with every single look, Michelle Pfieffer playing a hardened woman, and Jack Nicholson being, well, Jack Nicholson, but hairier.The opening sequence grabs you straight away, stock shocks, but they work fantastically, from then on I found myself impressed on just about every following scene.Nicholson is very good at underplaying the beginning of his transformation as he starts to discover his newly heightened senses, but he comes into his own when his powers bring him new found confidence and self assurance.Some of the wolf effects are a little cheesy, and the appearance of David Schwimmer playing a cop caused me to flash into Friends mode - he even has a friends-like line, could he _be_ anymore Ross like? Aside from these little niggles the film has an excellent love story with fantastic interaction between Nicholson and Pfieffer with some wry dialog. It's got great lighting and very good cinematography throw in a superb Morricone soundtrack and a cool ending and you've got a great film.
19 out of 24 people found the following review useful: A mature werewolf flick, 15 March 1999 Author: Barry Iverson (bearerik@techline.com) from Washington, USA
This movie was a welcome change from the typical werewolf flick. First off, we have Jack. Jack rules. Also, we have a good story that relates to adult life. This movie seems to pay tribute to classic werewolf films such as "The Wolf Man" with its basic formula of: Normal man, man bitten, man realizes something wrong, man discovers cool abilities, man uses abilities, man's abilities become out of control, man seeks help, man gets mystical amulet, man seeks resolution. It works very well, and this movie has great acting in it. Consider it a corporate werewolf flick, a more mature look at the beast in all of us.
18 out of 24 people found the following review useful: Wolfman Jack?, 28 October 2002 Author: (bsmith5552@rogers.com) from Ottawa, Ontario, Canada
"Wolf" is not your average blood and guts horror flick. Rather it is a high budget drama with horror overtones with a top notch cast skillfully directed by Mike Nichols. Jack Nicholson stars as Will Randall a meek book editor whose life suddenly is thrown into turmoil when he is bitten by a wolf while driving home from a business meeting. Suddenly he begins to feel younger and more energetic and to have keener senses of smell, sight and hearing. But to his horror, he begins to experience memory black outs during which several tragic events occur. He gradually comes to realize that he is taking on the characteristics of a wolf. At the office, Randall has just been fired from his job by owner Raymond Alden (Christopher Plummer) and his place taken by the arrogant brown nosing Stewart Swinton (James Spader). Randall also learns that Swinton has been having an affair with his wife (Kate Nelligan). At that time he meets Alden's beautiful but self-centered daughter Laura (Michelle Pfeiffer) and naturally they become involved (Who wouldn't howl at the moon after spending the night with Michelle Pfeiffer?). When Randall's wife is murdered, he begins to fear the worst so he turns to Laura for help in helping him to subdue his urges. But is he guilty murder? We have to wait to find out what's really going on until the last part of the film. The performances by all cast members are top notch. Nicholson as usual stands out as the tragic, doomed Randall. Pfeiffer (who is a much better actress than she is given credit for) is excellent as Laura. Plummer is suitably oily and manipulative as Alden and Spader is really good as the over ambitious Swinton. Look for David Hyde Pierce in a small role as Randall's assistant and look real close for David Schwimmer as one of the cops who tries to arrest Randall at the zoo. An off beat but different sort of horror film.
29 out of 47 people found the following review useful: "It feels good to be wolf - yes?", 23 March 2002 Author: Noel Bailey (uds3@hotmail.com) from Longmont: Colorado US
Now HERE is a film to sort out the average from the anything-but-average viewer. The reviews I have read sadden me, as they suggest a respective ratio of 98 : 2If you cannot see the absolute brilliance and talent that went into this deceptively clever and involving movie, why declare your obvious limitations by writing about it? Of course it was never going to be your average run of the mill lycanthropic bite-fest. Was that ever likely with Mike Nichols directing and Nicholson starring? The film is a dedication to BELIEFS, to unseen beauty, unacknowledged links and to the predator in all of us. It is a tale of romance and magnificence. Way up there in my own personal top 50 films of all time I could never tire of watching this film and LISTENING..and this word is the key.HEARING becomes an intrinsic part of Nicholson's transformation after he is bitten by a wolf on his way home one night in upstate New York. He works as senior editor in an upmarket publishing house that is taken over by a conglomerate headed up by Christopher Plummer in one of his superb little Christopher Plummer characterisations. Nicholson's Will Randall is offered the job no-one wants by Plummer to catalyse his hoped-for resignation. The essence of the wolf however already in his blood sharpens his instincts and he takes the fight up to Plummer ultimately forcing a back-down.Of so many wonderful scenes presented, it is hard to nominate a favorite but that where he meets Plummer's daughter (Michelle Pfeiffer) stands as one of the great verbal exchanges ever put down on film. Up there with Pacino and De Niro in HEAT, Pacino and Keanu Reeves in THE DEVILS ADVOCATE, sparks just fly as the old pro shreds her veneer of impenetrable coldness and gets plenty back, all the time both unconsciously aware of something quite outside their experiences, taking hold somewhere in another dimension.My personal nomination for stand out scene, is the sequence where Will Randall, concerned and confused as to what is happening to him, consults alternative health doctor Vijay Alezias (so humbly played by Om Puri) who understands what afflicts Randall and explains to him the "nature" of the wolf and the strength it will ultimately bequeath upon him. In a scene so absolutely touching, he proffers his hand to Nicholson and explaining that he is an old man with limited time left asks "Would you honor me with your bite?" How ANYONE could watch that and not be moved to an emotional melt-down I just don't know. The utter confusion reigning then in Randall's expression when he declines is just acting on another level altogether.James Spader who is consistently one of the most repulsive of actors (maybe thats his talent?) in a litany of warped and twisted roles plays the corporate climber not just happy to take Randall's job, but his friend's wife (smallish role for Nelligan) as well. The washroom scene where Nicholson announces simply "Just marking out my territory" was worth seeing alone!Many have complained bitterly that the finale descends into a "typical b-grade werewolf movie." Jeez, they ARE WEREWOLVES for God's sake what did you expect Nichols to come up with? a fight to the death with mouse pads? The absolute last scene where Pfeiffer's eyes morph into the wolf was an inspirational touch. Easily one of HER best films!
9 out of 9 people found the following review useful: Unapologetic and serious modern monster movie, 17 August 2007 Author: pyrocitor from Ontario, Canada
Ever since the 1940s, filmmakers attempting to make a new monster film, in the vein of the classics Dracula or The Wolf Man are often saddled with the contempt or disbelief provoked in response by contemporary audiences, leaving the end result either comedic or a camp attempt at a thriller incapable of being taken seriously or enjoyed by anyone other than caffeine riddled thirteen year olds. After numerous of said attempts, it was refreshing, to say the least, to experience a film which would normally fall under the aforementioned category, but which took its subject matter in a straightforward and serious fashion, helmed by a quality filmmaker and with a strong enough cast to properly sell some of the less credible aspects of the production. The result was Wolf, a modern werewolf film not intended as a joke or cinematic money grabber, but instead an intelligent look at the themes which thrilled 1940s audiences in a contemporary context. Director Mike Nichols should be commended for instilling his subject matter with enough dramatic intensity to appeal to an adult demographic, without forgetting the primary intent of such a film - to thrill and chill its audiences in turn. But rather than milking the audience's emotions with a series of oh so trite horror clichés, Nichols is willing to forgo outright shock value screams for a continual chilling sensation - a more subtle and ultimately more eerie touch many modern hackneyed attempts at horror could learn volumes from. Adding to Wolf's credibility is some creative and intriguing camera work, although the continued use of slow motion during dramatic points does begin to appear hokey after a while, despite working brilliantly at other points. The quality of the film is also strongly aided by a strong script, brilliantly paced between frights and character development; also a rarity considering the genre, and with just enough fleeting moments of perfectly placed comedic relief. The ever reliable Ennio Morricone contributes a wonderful score, a sublime tribute to the horror films of old without ever seeming clichéd. The filmmakers should also be commended enormously for resisting the temptation to overload the werewolf character with special effects, and take the classic makeup route instead. In an industry inundated with computer altered special effects, there is something very laudable about seeing an actual actor covered in prosthetic hair giving an actual performance, rather than a CGI created monstrosity. Whether intended as a tribute to the original Wolf Man (the facial hair designs are unmistakably familiar to Lon Chaney Jr.'s infamous antihero) or simply taking inspiration from it, the makeup works enormously well, and gives a welcome dose of nostalgia in a modern incarnation of the genre. The casting of Jack Nicholson as a modern day werewolf may have immediately come across as a very mixed blessing, inciting excitement that such an iconic actor was taking a shot at a part which seemed tailor made for him, and fear that Nicholson might simply coast by on the premise, and indulge in his tendency to drift over the top to the point of pantomime, effectively ruining the intent of the film. Thankfully, Nicholson also had the credulity to take his subject matter seriously, and emerge with a perfectly tuned performance. Nicholson channels his legendary charisma into an entirely credible character, riddled with pathos and dark menace, easily dispelling fears that his facial prosthetics might come across as laughable, and emerging with a surprisingly powerful and very serious performance. Michelle Pfeiffer gives a tremendously charismatic and entirely believable performance as Nicholson's surprisingly well written love interest - rather than being reduced to screaming and floundering around, Pfeiffer injects her character with real human emotions, taking what could have been a routine romantic lead and nearly stealing the film in one of the most impressive performances in her career. James Spader makes a deliciously slimy antagonist, and classy support is provided from Kate Nelligan, Richard Jenkins and Christopher Plummer. What might have degraded into cheap watered down horror trash culminated as an intelligent, mature and unapologetic modern monster thriller, made all the stronger by its firm, capable direction, intelligent and wonderfully paced script, with excellent performances from Nicholson and Pfeiffer. Wolf makes a wonderful modern take on the Wolf Man classic right down to the facial prosthetics, and is easily worth seeing for any fans of the genre in the mood for a horror film which refuses to patronise its audience - a very refreshing change. -8/10
9 out of 10 people found the following review useful: A nearly perfect synthesis of realism, satire and horror, 3 September 2004 Author: guy-bellinger (guy.bellinger@wanadoo.fr) from Montigny-lès-Metz, France
*** This review may contain spoilers ***
Mike Nichols is not always an inspired director but in this case HE IS ! Quite amazingly but undeniably, he manages with this gem to achieve a nearly perfect synthesis of the realistic, satiric and horror genres.The theme of lycanthropy , provided by Jim Harrison's exciting screenplay, is made all the more interesting since it applies to real life, to the soulless society surrounding us. We have an expression in French "l'homme est un loup pour l'homme" (Men are wolves to other men ) which could not be illustrated in a better way than by this somber movie. Indeed, the werewolf theme (unfortunately ) applies to perfection to our money-minded, cynical,mercantile environment.Also very interesting is the fact that lycanthropy is presented from two angles, the first violent and painful ( like in dozens of such like stories ) the second positive and exhilarating ( a much more seldom approach ). Will Randall not only suffers from the change in his mind and body but he sees his senses becoming keener, his abilities develop and his combativeness strengthened. And putting all these new qualities to good use,he turns into the dark avenger of the frustrated viewer. The dark romantic ending ( the couple becoming wolves ) avoids the trite happy end and the terror effects are very satisfactory. I particularly vibrated at the fight between Nicholson and Spader, in the middle of which poor Michelle Pfeiffer is ruthlessly brutalized.The opening sequence ( worried Nicholson driving in a beautiful but unsettling snowy landscape ) is also memorable.Nicholson, Pfeiffer, Spader and Plummer are all excellent and complement each other to perfection. Shame on those who disparage this masterpiece.
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