Eight years ago, Universal Pictures set out to create a cinematic universe featuring its iconic monsters, starting with Tom Cruise’s *The Mummy*. However, the latest project, *Wolf Man*, slated for release in 2025 and directed by Leigh Whannell, highlights the wisdom in abandoning that ambitious plan. This reinterpretation of classic Universal Monsters signals a fresh direction that departs significantly from the action-packed style showcased in *The Mummy*, which intended to launch the now-defunct Dark Universe, aiming to unite other beloved characters like the Invisible Man and Frankenstein.
Before *The Mummy* hit theaters in 2017, Universal had grand aspirations for the Dark Universe, famously unveiling a promotional image featuring stars Russell Crowe, Javier Bardem, Tom Cruise, Johnny Depp, and Sofia Boutella, alluding to a future filled with monster ensemble films. Unfortunately, the hopes surrounding this franchise crumbled following *The Mummy*, which, despite grossing $410 million, ultimately incurred significant losses estimated between $60 million and $95 million. This failure led Universal to rethink its approach to upcoming films centered on its classic monsters, paving the way for *Wolf Man* and similar projects that are redefining the genre.
The Original Vision: Wolf Man’s Place in the Dark Universe
Long-standing Interest in a Wolf Man Film
Even before the release of *The Mummy*, Universal had been nurturing ideas for a Wolf Man film since 2014, with Aaron Guzikowski tapped to write the screenplay. This new film was aimed at becoming a potential launchpad for the Dark Universe. However, the project struggled to progress, as no director was appointed, and plans shifted dramatically after *The Mummy*’s lukewarm reception. Reports surfaced suggesting Universal envisioned Dwayne Johnson as the titular Wolf Man, but those plans fell through, leading to the cancellation of several Dark Universe projects. Interestingly, this setback allowed Ryan Gosling to initiate the development of a new *Wolf Man* film, which he now produces.
2025’s *Wolf Man*: A Standalone Tale
Why This Version of Wolf Man Fits a Different Mold
The disintegration of the Dark Universe ultimately benefits *Wolf Man* in 2025. With *The Mummy*, Universal’s direction was evident—grand star power, emphasis on action rather than horror, and significant budgets were central to their vision. Yet, the resulting product featured underdeveloped characters and a lack of genuine suspense—all in an effort to lay groundwork for future films. In contrast, *Wolf Man* embodies a distinctly different philosophy: it stars emerging talents like Christopher Abbott and Julia Garner, embraces horror as a primary focus, and presents a self-contained narrative devoid of sequel setups or broader universe implications.
It is improbable that this interpretation of Wolf Man would have seen the light of day under the Dark Universe framework. Speculating on the original concept leads to the reasonable conclusion that if Dwayne Johnson had been involved, the film would have leaned toward a high-octane blockbuster. Instead, the 2025 release opts for an intimate horror experience, focusing on practical effects, and liberating itself from the constraints of interconnected storytelling.
Universal’s Monsters: Thriving Without the Dark Universe
The Case Against Reviving the Dark Universe
While the concept of a shared franchise for Universal’s iconic monsters is not inherently flawed—evidenced by successes in earlier decades—the release of *Wolf Man* serves as a reminder that this isn’t a requirement for successful storytelling. In recent years, Universal has experienced a renewed success with its monster properties by embracing standalone narratives, avoiding the overreach of shared universe complexities. Films such as *The Invisible Man*, *Renfield*, and *The Last Voyage of the Demeter* showcase the potential of these characters when given room to breathe outside of a collective framework.
| Movie | Critics RT Score | Audience RT Score | Box Office |
|---|---|---|---|
| The Invisible Man (2020) | 91% | 88% | $144.4 million |
| Renfield (2023) | 58% | 79% | $26.4 million |
| The Last Voyage of the Demeter (2023) | 50% | 74% | $21.7 million |
| Abigail (2024) | 83% | 84% | $42.7 million |
| Wolf Man (2025) | 54% | 62% | N/A |
Despite mixed critical reception, standalone projects have allowed Universal to diversify its offerings within the horror genre. Films like *The Invisible Man* garnered critical acclaim and box office success, while *Renfield* provided a unique twist on the Dracula narrative, and *The Last Voyage of the Demeter* introduced audiences to underexplored parts of the classic lore. The recent production of *Abigail* also showcased a fresh take on the Dracula storyline. *Wolf Man* continues this trend, presenting a horror narrative that might not align with traditional franchise expectations.
In focusing on individual stories, Universal enriches its portfolio and enhances the viewing experience, enabling audiences to appreciate each film on its own merits. Importantly, this approach alleviates the pressure on filmmakers regarding plot connectivity and shared universe constraints. While not every project guarantees success, it is clear that the Dark Universe began with considerable hurdles. Allowing these characters the freedom to exist independently fosters creativity and can yield more rewarding cinematic experiences than forcing them into a unified franchise environment strictly for commercial gain.
The Future of Universal’s Monster Movies: A New Dawn
A New Focus on Standalone Films
The impact of *Wolf Man* on Universal’s future strategies remains uncertain, particularly given its mixed critical reception. However, its box office performance will play a crucial role in shaping the direction of Universal’s monster franchises. Since pivoting away from the Dark Universe, the studio is developing several films aimed at continuing this standalone approach, including a potential project based on *The Creature from the Black Lagoon*, with James Wan potentially at the helm.
In addition to *Wolf Man*, various reboots, including *The Phantom of the Opera*, *Van Helsing*, and *Bride of Frankenstein*, are in various stages of development. Yet, no specific timelines have been established for these films. Should *Wolf Man* underperform similarly to previous titles like *Abigail* and *Renfield*, Universal may reconsider its strategy regarding its classic properties, potentially re-evaluating the viability of a Dark Universe approach, albeit in a reimagined format.
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