Wolf (1996) – Review

In 1996, director Mike Nichols gave us one of those wild movies that threw together big stars, a dose of supernatural intrigue, and a generous splash of thriller drama, all while taking itself just a little too seriously. To be fair, the werewolf has always been the ugly stepchild of the horror genre, so maybe taking it seriously could work. Let’s take a look and find out.

The plot of Wolf centres on Will Randall (Jack Nicholson), an aging, once-successful book editor who feels his career and personal life are in a bit of a decline. He is demoted from his position due to the machinations of his ruthless and ambitious protégé, Stewart Swinton (James Spader), who has charmed their boss, Raymond Alden (Christopher Plummer). But to make matters worse, Will discovers that Stewart is having an affair with his wife, Charlotte (Kate Nelligan). Could that come back to bite Stewart in the ass? Struggling with these revelations, Will feels betrayed and powerless. If only something could enter his life that could give him the edge needed to tackle all these problems.

 

“I was thinking of taking the family to the Overlook Hotel.”

Cue the French Horns from “Peter and the Wolf” as our movie kicks off with Will swerving to avoid a large wolf in the road, but he cannot avoid hitting it. Concerned, he steps out to check on the animal, only to be bitten by the wolf as it regains consciousness before disappearing into the woods.  Soon after, he begins to notice strange changes within himself. His senses sharpen, and he experiences heightened energy and confidence. However, as the effects deepen, he finds himself becoming more aggressive, territorial, and uncontrollably violent. His transformation is both literal and metaphorical, as his “inner wolf” embodies the primal instincts he has long suppressed. These newfound attributes prove advantageous in his professional life, helping him to fight back against Stewart and reclaim his position. Let’s just say, the script isn’t interested subtleties when it comes to his transformation.

 

“It’s says here that you are going to piss on my shoes.”

During this transformative period, Will meets Laura Alden (Michelle Pfeiffer), the intelligent and rebellious daughter of his boss, Raymond. Despite their differences, the two develop a romantic connection, with Laura being both intrigued and concerned by Will’s erratic behaviour, which grows more intense as the days pass. As Will’s transformation deepens, he realizes he’s becoming a werewolf. His instincts become more primal, and he starts to lose control of his actions, particularly at night. Will initially relishes his new abilities but soon fears the darker side of his transformation and turns to Dr. Vijav Alezais (Om Puri), a mystic and scholar who warns him about the curse he’s under and suggests that he may be able to resist full transformation by controlling his impulses. Of course, asking Jack Nicholson to control his impulses is a pretty tall order.

 

“Here’s Johnny?”

Unsurprisingly, the final act pits Will against Stewart, who has also been bitten and transformed into a werewolf. It’s here where the full extent of Will’s transformation is revealed, as he embraces his wolf-like nature and turns on those who have wronged him. In this final confrontation, Will and Stewart battle in a primal showdown that determines who will survive with the curse, with Laura witnessing the savage fight and finally understanding the true nature of Will’s transformation. And we are left pondering “Can a woman and a beast find common ground, and will true love prevail? And if so, will Laura be arrested for bestiality?”

 

A tale as old as time.

Stray Observation:

• The wolf that Randall hits was simply standing in the middle of the road, as if simply waiting to get hit, and as we see its pack waiting in the wings, one has to wonder if this is how they recruit new members.
• To prove this is a serious movie and not some cheap monster flick, the word “werewolf” is never said; instead, we get “demon wolf,” which is so much better.
• Randall finding out that his new abilities turn out to be not so great in the long wrong does remind a little of Seth Brundle in The Fly.
• In this film, we see a were-creature visiting a zoo, which is not unlike what happens in the classic Val Lewton film Cat People.
• This is the second time Michelle Pfeiffer has fallen in love with a wolf in a movie. The first was the 80s movie Ladyhawke.

 

I guess she has a type.

It goes without saying that the casting of Jack Nicholson was one of the film’s best aspects. Known for his intense and expressive style, Nicholson brings a raw, visceral energy to Will, portraying both his vulnerability as a man past his prime and the dangerous charisma of a predator. Nicholson’s ability to channel menace without relying solely on the supernatural elements of his character adds depth to Will’s transformation. Michelle Pfeiffer’s performance as Laura Alden, the daughter of Will’s employer, adds another layer to the story. Laura is drawn to Will’s animalistic energy, and her character is crucial in exploring the film’s themes of attraction, danger, and transformation. Their relationship is tense and filled with an underlying sense of foreboding, mirroring Will’s inner conflict.

 

This movie is heavier on the romance than the horror.

A sticking point with fans may be with the film’s transformation sequences as they are subtle, more psychological than physical, aiming for a metaphorical change as much as a visceral one. The special effects feel a bit restrained for a werewolf movie, but the understated approach aligns with the film’s reflective tone, focusing on character psychology over sheer horror. That the transformations were supervised by legendary make-up effects man Rick Baker, who gave us the best werewolf transformation in cinema history in An American Werewolf in London, certainly didn’t hurt this project but I can see some people leaving a little disappointed as this particular werewolf is more in keeping with Henry Hull in Werewolf of London and not more modern interpretations.

 

His bark is worse than his under bite.

To be fair, director Mike Nichols wasn’t out to make a monster movie.  Thematically, Wolf is a meditation on the nature of power and transformation. As Will becomes more “wolf-like,” he becomes both liberated and haunted by his own power. His transformation gives him newfound confidence but also isolates him, highlighting the film’s exploration of alienation and duality. Wolf presents a unique take on the werewolf story, focusing on psychological horror and the gradual, inevitable loss of control that comes with unchecked power. Will’s animal side brings him success and satisfaction, but it also distances him from his humanity, suggesting that succumbing entirely to one’s baser instincts leads to inner conflict and, ultimately, tragedy.

 

What the hell, humanity is overrated anyway.

And while psychological introspection is all well and good, the key problem here is the movie’s attempts at a slow-burn horror atmosphere, with its pacing at times feeling sluggish, resulting in some of the suspense being lost along the way. Nichols directs with his usual sophistication, crafting visually engaging shots that build an eerie, moody ambience. Yet, the film never quite plunges fully into horror, remaining more of a thriller with supernatural elements. Once again, this choice might be a bit disappointing for horror enthusiasts hoping for a genuinely frightening werewolf transformation.

 

It’s a far cry from what we got in An American Werewolf in London.

Ultimately, Wolf is more than a simple horror film about werewolves. It is a thought-provoking exploration of identity, power, and the instincts that lie beneath the surface of civilized behaviour. Mike Nichols’ direction and Jack Nicholson’s performance make Wolf a memorable, if unconventional, entry into the horror genre. It’s a film that questions the cost of ambition and the sacrifices that come with releasing the beast within, reminding viewers that sometimes the true horror lies not in the transformation itself, but in the loss of self that comes with it. As for werewolf fans, this is a movie that promises a bite but settles more for a scratch.