The full moon turns Benicio Del Toro into the titular monster in Joe Johnston’s The Wolfman, but in reality both he and costar Anthony Hopkins do little more than sleepwalk through this misbegotten reimagining of Lon Chaney’s 1941 Universal classic. An esteemed American actor who returns home to his perpetually mist-enshrouded familial English estate after the disappearance of his brother, Lawrence (Del Toro) soon discovers that a mysterious beast is on the loose, much to the townspeople’s chagrin. When said creature bites him, he too assumes the lycanthropic curse, though his CGI transformation is as tepid as his rampaging is perfunctory and Lawrence’s friction with cold-hearted dad John (Hopkins) is one-note. Director Joe Johnston mismatches numerous shots, stages action with a leaden hand, and then, in an apparent effort to compensate, begins and ends countless scenes with ominous shots of a computer-generated full moon, a device that merely amplifies this wannabe-scary saga’s corniness. Assuming a cartoony gothic guise that seemingly wants to recall not only prior werewolf tales but also Francis Ford Coppola’s Dracula (an impression furthered by Hopkins’ participation), this Wolfman – from its father-son conflict to Lawrence’s romance with his brother’s widow (Emily Blunt) – flounders in its stabs at epic action-horror grandeur, with only Hugo Weaving (as an investigating Scotland Yard sheriff) capturing the proper balance of solemnity and silliness.