‘The Wolfman’ – Where did we put that silver bullet again?

For a few, blissful moments, “The Wolfman” makes us believe the minds behind the film were faithful to what made the iconic monster franchise tick.

We’re treated to shots of an English country side dusted with ash, talk of strange curses and, best of all, the sight of Benicio del Toro howling at the moon.

The actor’s hangdog expression captures the haunted look Lon Chaney, Jr. brought to his Wolf Man portrayals.

Then, the script reveals itself to be 21st century stupid and the plot gives way to a series of violent but empty action sequences.

Suddenly, we wish this wolf would have stayed retired.

Del Toro stars as Lawrence Talbot, a British-born actor who returns home from a lengthy stay in America when his brother is reported missing.

That explains Lawrence’s wavering accent but not the comatose performance. More on that later.

His father (Anthony Hopkins) is glad to see “the prodigal son” return – a line he uses twice – but he tells Lawrence his brother’s body has been found.

It seems a deranged man has been ravaging their village, leaving death and destruction in his wake. Naturally, we know it’s not a man but a curse-delivering wolf doing the damage. And it isn’t finished with the Talbot boys quite yet.

“The Wolfman” delivers a nice blend of CGI and old school makeup, and this version of the half man, half beast creature is particularly vicious. More than a few heads get lopped off before the final credits roll.

Rick Baker, who concocted the astounding effects in “An American Werewolf” in London, applies the faux fur to del Toro, and there’s not a thing wrong with his makeup wizardry.

The gore, too, is plentiful, which feels odd coming from an old school monster but it helps get our attention – at first.

Del Toro, so physically right for the part, is cursed by a terrible script that can’t let us get emotionally involved in his character’s fate. But he deserves part of the blame for dull line readings and the sense he’d rather be anywhere else but on the set of a monster movie.

The Wolf Man archetype represents a compelling duality. He’s a monster who must be stopped, but we mourn for the lost soul caught up in the curse.

This Lawrence Talbot barely has a soul worth saving, and the love story element is treated superficially. Emily Blunt attempts to bring a spark to the film as the fiance of Talbot’s brother. She and del Toro even share a kiss mid film, one that comes on unexpectedly and doesn’t leave a mark.

Hopkins gives one of his worst performances to date. We’re never quite sure what to think of his character, and he can’t make a critical final act twist pay off in a meaningful way.

Even Hugo Weaving, a terrific character actor, isn’t challenged by a story that can’t channel his screen presence properly.

Some of the early action sequences are quite thrilling, but without getting emotionally involved in Lawrence’s fate they quickly lose their appeal.

“The Wolfman” grounds up classic elements from the Universal vault – the silver bullet, the mysterious gypsies, characters leafing through Lycanthropy 101 – but the results are a thoroughly modern misfire.

(Photo: An English village is beset by a marauding creature in “The Wolfman.”/Universal Pictures)

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