Los Angeles Times by Robert Daniels

Sometimes Wolf is slight, relying on mystery and metaphor to build suspense, but Biancheri’s sense of narrative adventure imbues this survivalist picture with more than uneasiness. She gives it tenderness.

Polygon by Roxana Hadadi

Practically everything about Wolf truly relies on MacKay, who has to be convincing enough in his at-odds identity to simultaneously draw viewers’ empathy and promote their unease. And he is, for every minute of this film’s 98-minute run time.

Chicago Sun-Times by Richard Roeper

Writer-director Nathalie Biancheri treats this potentially sensational material with sensitivity and empathy, though Wolf sometimes careens in the direction of a pure horror film and introduces some late elements that border on the grotesque and seem superfluous to the main story. Still, this is an involving and dark fairy tale, with great performances from MacKay and Depp.

Arizona Republic by Bill Goodykoontz

Writer and director Nathalie Biancheri’s film explores the lives of those living as “The Other,” outside society’s norms. It requires commitment on the part of the actors and the audience. It’s a worthwhile investment.

Austin Chronicle by Richard Whittaker

Superficially, Wolf may seem like an entry into the queer canon, and it's not hard to see superficial similarities between the facility and a gay conversion therapy facility, or to superimpose transphobia onto Jacob's diagnosis of species dysphoria.

Paste Magazine by Natalia Keogan

Equal parts captivating and cringey, writer/director Nathalie Biancheri’s Wolf flounders in the face of articulating its own thesis.

The New York Times by Natalia Winkelman

Wolf may lead with an open curiosity, but in tackling big ideas about identity, openness is not always enough.

ReelViews by James Berardinelli

Viewed from the straightforward perspective of a narrative-based motion picture, writer/director Nathalie Biancheri’s sophomore feature never gains traction. There are some interesting ideas but it becomes increasingly difficult to relate to the characters or the situation the more obviously divorced from reality things become.

The A.V. Club by Mike D'Angelo

What’s certain is that a stronger, more searching exploration of this scenario—one not so starkly conceived in terms of victims and villains—would have gone a long way toward alleviating potential misgivings. Wolf is so thin that one can’t help but look right through it.

Washington Post by Michael O'Sullivan

Being oneself is (or, again, seems to be) the theme of Wolf, which at times plays like a clumsy allegory about, say, the challenges faced by trans youth — there’s a poster on the wall of the clinic about “species dysphoria” — yet most of the time is simply a more generalized fable about finding your groove, your bliss, your true, inner self — and running with it (naked, if need be, and on all fours). If it’s an allegory, it trivializes whatever it’s allegorizing.

The Globe and Mail (Toronto) by Barry Hertz

More an extreme theatre-school exercise than a substantive act of filmmaking, the new drama Wolf is one wild, rabid mess.