By LYTTON GILLILAND

Special to the Pflag

Despite the fact that “The Wolfman” is a remake of 1941’s classic Universal horror film “The Wolf Man,” as the new film began I couldn’t stop thinking of Tim Burton’s “Sleepy Hollow.” The title cards bear a resemblance to “Sleepy Hollow’s” marketing fonts, the score has some similar musical cues, and both films begin with a carriage ride through the forest and continue with flashbacks of the hero’s childhood, glimpses of the monster through evening fog, and some delightfully gory monster mayhem.

It turns out that’s not a coincidence. Danny Elfman created the score for both films. Andrew Kevin Walker wrote both scripts, this time with the help of David Self (“Thirteen Days”). “The Wolfman” takes itself much more seriously than “Sleepy Hollow,” but the lineage is strong.

Of course, “The Wolfman” shares a lot with “The Wolf Man,” plotwise. Lawrence Talbot (Benicio Del Toro) comes home to investigate the savage death of his brother, summoned by the brother’s widow Gwen (Emily Blunt, “The Devil Wears Prada”). Lawrence’s father John (Anthony Hopkins) may or may not be devastated by the death, but then again, he’s had practice: his wife, Lawrence’s mother, died tragically decades before.

Lawrence’s investigation takes him to a local band of gypsies deep in the forest where he finds himself face-to-face with his brother’s killer, a massive werewolf that moves like a cheetah, hits like a linebacker, and shreds like a bear. In fact, even the bears are scared of the beast. One bite later and Lawrence is cursed to howl at the full moon in a fur suit for the rest of his days.

There are numerous warning signs that typically draw pessimism for a release like this. It’s a remake. It’s a horror film… dropped in the middle of February. Its release has been pushed back again and again. There were prominent struggles to find a committed director.

Forget the warning signs. “The Wolfman” is a worthy monster movie. Director Joe Johnston (“Jurassic Park 3”) certainly has the effects background for this line of work, but he has all of the right pieces assembled here, including the mostly smart script from Walker and Self.

One of the interesting things about the Wolfman, and what separates him from other classic movie monsters like Dracula, Frankenstein, and the Mummy, is that he is still human most of the time. In that vein, Del Toro plays the role physically. Though Talbot is an actor, he is reserved when he is off stage. We can see the toll his curse takes on his humanity even when he’s not speaking about it, especially when he’s not speaking about it. He’s horrified by what he’s become, what he’s capable of, what he does when the transformation overtakes him.

And the transformation is everything it should be. It’s painful to watch, with bones realigning, joints inverting, and teeth and claws ripping through existing tissue. Del Toro writhes and contorts and howls. With special effects make-up by Hollywood legend Rick Baker (“Hellboy”), the finished product is both expressive and fearsome.

We can pick around the edges if we want. Assuming the filmmakers actually know how frequently full moons appear, there’s surprisingly little movement in the budding romance between Lawrence and Gwen during the four months depicted in the film. Also, Gwen displays a shocking lack of foresight by rushing into a house she has reason to believe contains not one but two werewolves without a weapon, defense, or considered plan of any kind. These details can be forgiven if not ignored.

“The Wolfman” was made by people who clearly adore the classic horror film on which it is based. Yes, there’s a tendency for full moons to spring up far too frequently as the plot demands and for people who should know better to forget how to prepare or respond. But these are filmmakers who take considerable enjoyment from staging all of the cool set pieces such a premise offers while still remembering that they have to string it all together with a story. Rest easy, monster fans. Johnston and his crew have preserved the dignity of the Wolfman.

Three out of four stars. MPAA rating: R