Reviews
Frankenstein
Guillermo Del Toro has been crafting monster movies since I was a child, so when I heard he was at the helm of a new Frankenstein adaptation, I could not help but burst with anticipation. A project like this feels long overdue, and I am overjoyed to report that it more than meets expectations. The only real tragedy is its limited theatrical release, which does a disservice to the many exemplary elements that make it exceptional.
Del Toro, while putting his own spin on the material, does not stray far from Mary Shelley’s iconic story. He remains true to capturing the cruelty of humanity while also exploring the catharsis of forgiveness. His iteration is split into two distinctive halves: Frankenstein’s story and the creature’s story, because as we know, there are always two sides to every story.
The first part focuses on Victor Frankenstein (Oscar Isaac) and how he became the crazed, deranged scientist who created a monster. We are given glimpses of his childhood, marked by abuse from his father (Charles Dance), before moving into his adult life. Driven to surpass everything his father achieved, and aided by Heinrich Harlander’s (Christoph Waltz) wealth and his brother William’s (Felix Kammerer) loyalty, Frankenstein fulfils his dream of creating a creature (Jacob Elordi) from the remnants of corpses. As the story progresses, Frankenstein grows frustrated with his monster’s perceived lack of intelligence and inability to speak, and he ultimately attempts to destroy his creation.
This is where the film truly shines, as the creature begins to tell his side of the story, which develops into a surprisingly emotional coming-of-age tale. In the moments before his attempted destruction, we see the world through his eyes as he spends time with Elizabeth (Mia Goth), a gentle and compassionate soul who recognises the humanity within him and offers the companionship he longs for. The creature’s search for acceptance is met with hatred and violence, even as he learns about life and kindness from a benevolent old man (David Bradley). In this second half, the monster becomes a deeply relatable character, creating several genuinely moving moments.
As expected from a Del Toro monster movie, the visuals are, for the most part, a true feast, particularly the creature design. The sprawling landscapes and immense set pieces are a joy to behold and had me smiling from ear to ear. Yet it is the makeup and costume design that impresses most. From the gruesome battle wounds rendered with sickening realism to the uncanny believability of Frankenstein’s monster, the craftsmanship is nothing short of extraordinary. The makeup is not just among the best of the year; it may be the best of the decade. Do not be surprised to see Frankenstein dominate the technical categories at awards season and expect it to sweep more than a few of them.
The score by Alexandre Desplat is sensational, enhancing nearly every moment with how seamlessly it complements the scenes on screen, effortlessly heightening the atmosphere when needed. It truly brings the story to life, and the sound design is equally impressive. There is one sequence during Frankenstein’s creation of the monster where the music felt more suited to a Harry Potter Christmas scene than to a crazed scientist bringing his creation to life, but that is undoubtedly a matter of personal preference rather than a flaw in Desplat’s work.
Elordi undoubtedly steals the show in terms of performances. In a truly unrecognisable state, he delivers the finest work of his career to date. He brings a remarkable depth of vulnerability and humanity to the monster, adding emotional layers that make several scenes genuinely moving. Every moment he is on screen, he is compelling, and the film’s most powerful sequences are those he shares with Mia Goth, who also deserves immense credit for her outstanding performance.
The rest of the cast also rises to the occasion, with Del Toro’s well-written script giving everyone a fair share of screen time. While none, not even Oscar Isaac, deliver performances as memorable as Elordi and Goth, they all give strong performances that add enjoyment and help elevate the film as a whole.
My main gripe with Frankenstein is the visual effects. With such strong cinematography and other stunning visuals, the CGI can be jarring. One particular explosive sequence contains moments that may pull some viewers out of the immersive atmosphere because of how obvious they are. These effects would not feel out of place in a 90s film, but unfortunately, they are becoming more common in straight-to-streaming productions of this nature.
With a runtime of 149 minutes, Frankenstein will not be for everyone, but it is thrilling to see Del Toro’s passion project finally brought to life and done justice, something he can be extremely proud of. While the film is not perfect, its technical a masterpiece territory and it truly must be seen to be believed.
