Director Christophe Gans did his homework before making “The Brotherhood of the Wolf.”

Given the success of “The Matrix,” an American blockbuster informed by Hong Kong action films, and “Crouching Tiger, Hidden Dragon,” a Hong Kong-style action film influenced by American blockbusters, it was a safe bet that “Brotherhood,” a French film referencing both American blockbusters and Hong Kong action films that is also a period piece and a monster movie, would clean up at the box office.

While novel in its variety of influences, “Brotherhood” boils down to nothing more than the same old fight movie with a different story.

The film, which was the fifth highest-grossing film in France last year, is based on the true story of the “beast of Gevaudan,” a creature that reportedly killed more than 100 people in the Gevaudan region of France between 1764 and 1767. The film is told from the point of view of Thomas d’Apcher, a nobleman about to be led to the guillotine during the French Revolution in 1794.

Claiming to be the last person alive to know the truth about the beast, Thomas finishes his journal before being led to his death. The film then moves back in time 30 years to when, dismayed by the creature’s continued killing, King Louis XV dispatches naturalist/philosopher/hunter Gregoire de Fronsac, played by Samuel Le Bihan, to the region to kill the beast. Gregoire is accompanied by his Iroquois friend Mani, played by Hawaiian martial arts expert Mark Dacascos.

Upon arriving in town, Gregoire and Mani become entangled in a web of intrigue involving the town’s aristocracy, the Catholic Church and a bordello. Gregoire meets the influential, one-armed Jean-Francois, played by Vincent Cassel, as well as his sister Marianne, played by Emilie Dequenne, who won best actress at Cannes for her role in “Rosetta.”

Jean-Francois is an expert hunter who lost his arm on an African hunting expedition but who now uses a specially made gun that shoots only silver bullets. Predictably, Gregoire becomes romantically involved with Marianne, but he also becomes involved with Sylvia, an Italian prostitute played by Monica Bellucci.

Gregoire is at first unconvinced that the beast is anything other than a wolf. His learning in the Age of Reason comes into conflict with the superstitious beliefs of the backward townspeople. As more evidence becomes known, though, Gregoire becomes convinced that there is something more going on than just random wolf attacks.

The distinctively French element of the movie makes its appearance as the characters engage in discussions on religion and philosophy. Mani, as the spiritual yet somber Indian, speaks to the trees (really) and is accused of witchcraft by the fearful Frenchmen. Discussions and social conflicts draw the movie out and make it slightly deeper than your average French kung fu monster movie, but, let’s face it, it’s just window-dressing for the fight scenes and beast attacks.

Learning from “Jaws,” Gans chooses not to show the beast until an hour into the film. As can be expected, the creature is more frightening when it is unseen, but Gans does a good job of shooting the attack scenes. Especially riveting is the beast’s attack of a shepherdess stuck in a swamp while trying to rescue a lamb. The director uses “Gladiator”-style cinematography to shoot the obvious religious imagery of the scene while using still photography to show the woman’s face the second the beast tears into her.

Most of the fight scenes are a tour de force for Dacascos, playing Mani. While organizing a hunt for the creature, Mani gets involved in all-out martial arts combat with a group of oddly Mad Max-looking ruffians. Dacascos, who was considered for the role of Bruce Lee in “Dragon: The Bruce Lee Story,” gives Chow Yun-Fat a run for his money. As the movie progresses, Gregoire, through the skilled acting of Le Bihan, turns from naturalist to cold-blooded killer and dishes out some serious pain as he pounds people’s heads through walls with his bare hands.

The movie does begin to unravel slightly toward the end as more than a few plot twists make less sense than Keanu Reeves’ utterances in “The Matrix,” and it is still jarring to see 18th Century Frenchmen fight using martial arts, no matter how well the scenes are shot.

Overall, however, “Brotherhood” deserves credit for molding so many disparate influences and styles into a coherent whole. The costumes are elaborate and well-done, and the setting of the film, including palaces, forests, caves and swamps, is shot in a style reminiscent of Ridley Scott’s work in “Gladiator.” For all its trappings, though, “Brotherhood” is really just a beautifully shot fight movie that happens to have a monster.

If you’re looking for great French cinema, go see “Amelie.” If you’re looking for something slightly different to hold you over until “The Matrix 2” finally comes out, go see “Brotherhood of the Wolf.” nyou