Frankenstein

Rating

Director

Guillermo del Toro

Screenplay

Guillermo del Toro

Length

2h 29m

Starring

Oscar Isaac, Jacob Elordi, Christoph Waltz, Mia Goth, Felix Kammerer, Charles Dance, David Bradley, Lars Mikkelsen, Christian Convery, Nikolaj Lie Kaas

MPAA Rating

R

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Review

One of the most frequently adapted and referenced novels of the modern era, Frankenstein continues to prove fertile ground for science fiction and horror filmmakers looking to make their mark on established classics.

Victor Frankenstein (Oscar Isaac) spends his life trying to convince his fellow scientists that he has the ability to reanimate dead flesh but can’t make headway without the assistance of an arms manufacturer financier (Christoph Waltz) who is the uncle of Victor’s paramour Elizabeth (Mia Goth). The creature is played by a barely disguised Jacob Elordi, whose beauty is minimized just enough by the makeup to give his character an exotic quality that makes it easier for some to understand why the magnetic power of the creature can both please and repulse. It’s a story most audiences will be familiar with but with modern touches that place it in a present-day thematic framework.

In terms of Gothic fiction and aesthetics, there are only two filmmakers you would want tackling a source like this. Tim Burton, who has mounted three productions inspired by the Mary Shelley novel (Edwards Scissorhands and his short and feature adaptation of Frankenweenie), and Guillermo del Toro who is, himself, a modern Prometheus much like the figure of the Shelley work. His dedication to this style has helped create some of the most enduring modern depictions of the Gothic era and who seems like the right kind of filmmaker to adapt Dracula should that need retelling as well. Combined with his fascination with monsters in storytelling and you have the perfect pairing of Frankenstein and filmmaker.

While many prior adaptations have skimped on many of the details of the novel, much of it is preserved in Del Toro’s film. The lone segment fully excised revolved around Victor’s brother. A few changes to give the characters depth and objectives are added to the mix for a film that feels even more fully developed than Shelley’s comprehensive novel. There are positives and negatives to the film’s casting. Isaac is a terrific choice for Victor but Waltz is a rather shabby one for the industrialist. It’s a bit too on the nose and he sleepwalks through the performance. Goth tries to give the ethereal gauntness a vibe but ends up feeling disconnected. Elordi’s selection is an interesting one and while it’s not unwelcome, it is at odds with the rest of the casting. It’s a strong performance but perhaps for a different film.

Del Toro’s films have often tackled concepts such as otherness and the strictures of societal expectations. Frankenstein (the novel) was of similar theme, asking the audience whether the creature was the monster or was his creator. Yet Del Toro manages to better exemplify that than even the novel can. Elordi’s creature is misunderstood and introspective, exploring life from an outsiders perspective and whose single-minded hatred of his creator plays out like a spurned lover rather than the simple-minded vengeful husk he is quite frequently portrayed as. That choice gives the film a more compelling thematic core and smooths out some of the questionable choices made in the film’s production.

Frankenstein is not just the embodiment of Del Toro’s visual and thematic styles, it is the concerted effort to redefine genres, horror and science fiction, that have been either abandoned or mutilated by studios afraid to tackle thorny topics. While it’s disappointing this went to Netflix where it won’t be able to prove the viability of such films at the box office, it reaches an audience base that will be glad to have some thought put into its sci-fi and horror even if they are familiar with the tale.

Review Written

April 15, 2026