Universal Pictures, having previously abandoned the concept of creating a cohesive universe for its classic monsters after the poor reception of 2017’s The Mummy, has instead adopted a reimagining approach that proved successful with the 2020 release of The Invisible Man. This film, crafted by Leigh Whannell, skillfully intertwined the theme of invisibility with contemporary issues such as gaslighting and abusive relationships.

Now returning to the fray, Whannell tackles yet another Universal monster: the Wolf Man. This new adaptation reinterprets the iconic 1941 horror tale, providing a modern twist on the werewolf mythos. Christopher Abbott stars as Blake, whose seemingly ordinary life spirals into darkness following a terrifying encounter in the rural landscapes of Oregon. The narrative delves into themes of identity, fear, and enigma, further featuring Julia Garner as his wife Charlotte and Matilda Firth as their daughter Ginger. This enthralling story promises an intricate blend of horror alongside compelling family dynamics.

Whannell, known for his innovative storytelling seen in The Invisible Man, brings his unique vision to Wolf Man, presenting classic monsters in a genuinely terrifying context. Early reviews have praised the film’s immersive atmosphere and impressive practical effects, particularly during Blake’s harrowing transformation. However, some critics have noted a tonal shift occurring midway through the film.

Fans of the horror genre and traditional monster reboots can expect Wolf Man to offer a fascinating combination of classic scares intertwined with modern narrative elements. By merging raw human vulnerability with intense horror, this film is positioned as a noteworthy addition to the genre.

Slated for theatrical release on January 17, 2025, Wolf Man invites audiences to experience its chilling horror on the big screen. Following its exclusive theatrical run, the film is expected to stream on Peacock approximately 45 to 70 days later, potentially between March and April 2025. Viewers seeking to watch the film at launch must do so in theatres, as it is not currently available on any streaming platforms.

In the plot set thirty years later, Blake, now a city writer, is seen living with his journalist wife Charlotte and their daughter, Ginger. Charlotte grapples with the pressures of her demanding job, fearing it affects her ability to be a good mother, while Blake engages actively in parenting—activities depicted as endearing but somewhat overdone. After discovering that his estranged father has been declared deceased, Blake decides to take his family to their inherited farm for a weekend of bonding.

The film presents itself as a full-body horror experience, with numerous unsettling moments sure to satisfy aficionados of the subgenre. It features abundant jump scares and tense scenes, including a haunting visual transition from a human perspective to that of the Wolf Man.

A troubling event has prompted an FIR (First Information Report) against a group of fans of actor Balakrishna, who beheaded a goat in a ritualistic celebration for the release of his upcoming film, Daaku Maharaaj. This incident occurred outside the Pratap movie theatre in Tata Nagar, Tirupati, where a group of men performed the act publicly in a misguided display of enthusiasm for the film.

PETA (People for the Ethical Treatment of Animals) India lodged a complaint, which resulted in the Tirupati police registering an FIR against five individuals associated with the goat sacrifice. A video of the disturbing incident, which went viral after the film’s release, showed Balakrishna’s fans beheading a conscious and terrified goat with a machete at the Pratap Theatre, subsequently smearing the blood on a movie poster while cheering.

Authorities were alerted after multiple witnesses reported the act, triggering outrage among animal rights organizations. The police filed the FIR under various sections, including 325 and 270 of the Bharatiya Nyaya Sanhita, 2023, sections 4 & 5 of the Andhra Pradesh Animals and Birds Sacrifices (Prohibition) Act, 1950, and sections 3 and 11(1)(a) and 11(1)(l) of the Prevention of Cruelty to Animals Act, 1960, addressing charges of animal cruelty and public disturbance.

Saloni Sakaria, the Cruelty Response Coordinator for PETA India, stated that killing an animal and using its blood for a celebration does not signify being a super fan; rather, it constitutes villainy and criminal behaviour. She emphasized that true fans honor their idols through respectful means such as movie tickets and positive social media support, not through violence.

Actor Vedhika expressed her dismay on X (formerly Twitter), saying, “This is horrific!!! Stop!!! My heart bleeds for the poor innocent child. No one deserves this…so much torture and trauma!! How on earth can you harm an innocent, voiceless being? This should never happen to any other being ever. I pray for this poor child’s soul. Rest in God’s arms, sweet child. Sorry we failed you. I hope no more animals will be sacrificed in the name of fandom. No one is going to appreciate this kind of violence, so please stop!!!!!”

This incident is not an isolated case, as Nandamuri family fans have demonstrated similar behavior in the past. Notably, during the release of Jr NTR’s film Devara: Part 1 in September last year, a similar video circulated online.

“Azaad,” a film that hit the theatre today, serves as the debut platform for Rasha Thadani, daughter of actor Raveena Tandon and Anil Thadani, alongside Aaman Devgan, the nephew of Ajay Devgn.

The story begins with Govind (Aaman) captivated by the dacoit Vikram Singh’s (Ajay Devgn) majestic black horse, Azaad, who is fiercely loyal to its owner. Amid this, Govind encounters Janaki (Rasha), the daughter of the landlord Rai Bahadur (Piyush Mishra). A parallel storyline features Tej Bahadur (Mohit Malik), Janaki’s brother, and Kesar (Diana Penty). The convergence of their lives unfolds against the backdrop of pre-Independence India.

As the film progresses, “Azaad” feels excessively self-indulgent, particularly in its pacing and musical interludes. It appears that director Abhishek Kapoor, known for offering a compelling debut for Sara Ali Khan in “Kedarnath,” began filming and neglected to expedite the narrative. By the time the movie reaches its conclusion, viewers may feel a sense of time stretching.

The screenplay is credited to Ritesh Shah, Suresh Nair, and Kapoor himself, leading to the question of how three individuals could arrive at this outcome. The editing by Chandan Arora also raises eyebrows—what exactly was refined?

Throughout the film, Azaad, the horse, manages to resonate emotionally with the audience. The sequences showcasing him highlight captivating on-screen performances, and he, unexpectedly, seems to steal the spotlight without uttering a single word. While Kapoor’s direction shines in certain moments involving the horse, these instances are regrettably limited.

Regarding their debut performances, both Rasha and Aaman exhibit raw talent, indicating room for improvement. Rasha, at just 19, displays a commendable screen presence but should focus on enhancing her emotional portrayals. Aaman shows promise in dance and action but could benefit from further honing his acting skills.

Mohit Malik, transitioning from television to film with “Azaad,” aligns well with his role, while Diana Penty’s subplot feels superficial. Ajay Devgn appears to have shot his scenes in a manner reminiscent of his work in SS Rajamouli’s “RRR,” suggesting an overlap in filming schedules.

With high hopes for the music, given Amit Trivedi’s involvement, the soundtrack disappoints overall. Aside from “Uui Amma,” which gained viral attention and elicited mixed responses, the remaining musical aspects fall short, which is disheartening.

In summary, “Azaad” fails to present anything fresh, primarily showcasing two new actors. The film suffers from a slow and loose screenplay, saturated with clichés, and it lacks the vitality one would expect from a story centered around a horse.