Wolf (1994).

Review #1157: Wolf.

Cast: 
Jack Nicholson (Will Randall), Michelle Pfeiffer (Laura Alden), James Spader (Stewart Swinton), Kate Nelligan (Charlotte Skylar Randall), Richard Jenkins (Detective Sgt. Carl Bridger), Christopher Plummer (Raymond Alden), Eileen Atkins (Mary), David Hyde Pierce (Roy MacAllister), Om Puri (Dr. Vijav Alezais), and Ron Rifkin (Doctor Ralph) Directed by Mike Nichols (#175 - Who's Afraid of Virginia Woolf?, #550 - The Graduate, and #637 - The Birdcage)

Review: 
I suppose there must have been a desire to make a new kind of werewolf film for the 1990s, particularly since this film doesn't even use the word "werewolf", as if that was somehow taboo or something. It's also clear that they really wanted to be taken seriously, since this is a romantic horror film. On the whole, the film is decent, but it doesn't really live up to the potential it could've reached, although I certainly do find some enjoyment from it, whether when trying to be a metaphor or for unintentional amusement. Perhaps this is a movie that needed more beastly nature, since the real horror that jumps out involves office politics at a publishing house. The screenplay was done by author Jim Harrison and Wesley Strick, although there were un-credited re-writes done by Elaine May. Harrison was not a particular fan of the final result of the film made by Nichols, explaining "I wanted Dionysian, but he wanted Apollonian. He took my wolf and made it into a Chihuahua. I cracked up for 10 minutes and then went out into the country and stood in front of a wolf den and apologized while my dog hid under the truck." This is a strange film to spend 125 minutes with, and it does sometimes feel a bit too long.

The acting does help carry the movie well enough. Nicholson is entertaining, being watchable as ever without overdoing anything, whether when prancing around with mutton-chops or when having more energy to him after being bit. After all, this is a movie that gives him a bunch of abilities to show off as a wolf, such as being able to read without his glasses, being able to be more active in romance with his wife, jumping in the air, or having animals hate him. Pfeiffer, in a role that occasionally delves into cliches, manages to come out as someone interesting to follow along with, having a few moments with Nicholson that makes this romance seem semi-workable. Spader is excellent at playing such a smarmy character like this one, making the art of flattery and treachery that works oozy wonders each time he's on screen. Nelligan is okay, but the real highlight in the supporting cast is Plummer, who plays his domineering rich guy role with an understated touch. The special makeup effects are done by Rick Baker, who you may recognize from his work on other films, most notably An American Werewolf in London (1981) and Coming to America (1988). His effects here are pretty good, although they certainly feel restrained in contrast to the bits involving the romance or the office scenes, although at least they are given time to shine in the climax. Honestly, the movie is more fun when it doesn't feel so restrained between either being a metaphor or being actual horror/romance. One of my favorite bits of amusement comes when Nicholson's character decides to "mark his territory" at the bathroom when he's firing Spader's character, as if this was supposed to be taken seriously. Other other fun bit comes when Nicholson's character finds out that he has been cheated on by his wife through his super-scent, so he goes up to the house where his wife and the other guy are located, and he bites the other dude on the hand before going up the stairs, taking one look at his wife, and then leaves. The climax is a bit of a ridiculous one, and it isn't as effective as it probably should've been. Maybe it's the fact that there really isn't that much buildup for its showdown between its two wolves (complete with the use of slow motion), or maybe it's the fact that the film keeps shuffling between what it really wants. This is especially apparent in the scene after involving a shot of eyes mixed in with a shot of a wolf - and that's it. If you think the film will resemble something like The Wolf Man (1941), you will likely be disappointed, but I did manage to find some strange enjoyment out of how weird and energetic it is, even if it manages to muddled in ridiculousness at times. It isn't a highlight in the horror or romance genres, but it works just enough for me to win out as entertainment.

Overall, I give it 7 out of 10 stars.