I don’t like remakes. There, I said it. For the most part remakes are an exercise in studio greed. It’s a dislike more of principle than practice as I still go to see them, some of which are good. Some older films could probably benefit from a makeover – due to terrible special effects or weak plot – but surely older classics at least should be respected.

But. as the studios have no shame and, like vikings, pilfer anything not tied down, we arrive at my first review for Geek Actually.

The Wolfman is a remake of the 1941 horror classic of the same title.Lawrence Talbot, a well-to-do actor, is summoned back to his English childhood home by news of his brother’s disappearance. He soon realises something is afoot when he is bitten by a werewolf. To say more would probably give everything away but really you get most of the information needed from the title. The plot for the remake starts off the same as the original but escalates enjoyably from there.

Regardless of what was said above regarding remakes, this film is good. It’s fun and, while not going to scare anyone used to horror movies, quite tense. Director Joe Johnston obviously has a lot of respect for the Hammer Horror and Universal Monsters of the past as the movie oozes with so much atmosphere it practically drips on the audience.

It’s gothic horror; so much so that it seems to have nearly every gothic stereotype. Bosoms heave; mist spills and creepy old men live in decrepit castles. It may seem ridiculous but because of the film’s grounding in classic horror they feel perfectly at home. In fact it’s a good thing. It’s been a while since a decent gothic horror came along and I’d like to think this could lead to a resurgence in the genre.

To get picky for a moment, jump scares are a good device for heightening tension –and they do this admirably here – but you can have too much of a good thing.

Now, for the special effects. The Wolfman is probably the best design and execution of a man-wolf since American Werewolf in London. The transformations are amazing and, oddly enough, believable. The combination of prosthetics and special effects is near seamless. The wolf was designed by Rick Baker, who is something of a name in the special effects business (Wolf, Harry and the Hendersons). And it shows. The beast is a beauty to behold.

Benicio Del Toro was a surprise pick as Lawrence Talbot – well done to the studio for not picking a fake-looking sex symbol – but he grows into the role and from the second quarter onwards really makes it his own. By the end of the film he really does look like he has had an immensely crap day.

Anthony Hopkins is highly competent as Lawrence’s batty and suspicious father, though his role doesn’t leave much room for anything but vague menace – and much the same could be said for Emily Blunt. She is fine in her role but her character is pretty much straight up and down love interest.

Hugo Weaving plays Abberline, the Scotland Yard investigator sent to investigate (as they do) the werewolf-related murders. Again, Abberline is there to play support to Del Toro and Hopkins but he does his usual admirable job with the supporting role.

Universal have expressed interest in remaking their Universal Monsters properties. HA, I thought; I was right. Those greedy bastards.

However, that anger has been eased slightly by The Wolfman. The studio has mentioned remakes of Dracula, Frankenstein and are in active pre-production of Creature from the Black Lagoon. If Universal can pull off what Marvel have managed with their properties – namely casting great actors with directors who care about the source material – then we may have something less than terrible on our hands.

The Wolfman is a good film and I breathed a sigh of relief on leaving the cinema. It would’ve broken my heart for them to ruin such a classic of my beloved genre.

Go see this film.

– Calum