“Only monsters play God, Baron.”

Genre: Exquisitely Recreated Classic Horrors
Release Date: 2025
Where I Watched: Netflix

Gist: After young Victor Frankenstein’s mother dies in childbirth, he swears he will conquer death. Decades later, he’s kicked out of medical school because his experimentation is creepy as hell. But not necessarily impossible. Pity that when he achieves his goal, his narcissistic tendencies get the better of him. Meanwhile, his creature languishes…

Gotta say: Beware. Here there be simping. Damn I’m a simp for this movie, so prepare yourself. Guillermo del Toro has a way with misunderstood monsters, and this Frankenstein is his coup de grâce. Is it heavy handed? Yeah. So much so. Did I care? Nope. Not one little bit. This is going into my Comfort Watch List, and I’m not mad.

There are twists, shifts in the original narrative that keep things fresh and interesting. Basically, the bones of Shelley’s story are here, as are the themes. Screenwriter/director Guillermo del Toro takes some liberties on the focus of the film, with the emphasis on the twisted dynamic between Victor and the creature, ethics, and prejudice taking front and center. You see, without a doubt, that Victor was the true monster of this story. Yes, because it’s literally spelled out in character dialogue, but by the exemplary performances from the cast, and directorial choices from del Toro. 

As with del Toro’s Crimson Peak, this is a Gothic dream come true. The costuming alone makes this film worth a look. A malachite patterned dress, subtly beautiful jewelry, suits and waistcoats tailored within an inch of their fabrics, all filmed with a focus on the lush beauty of each piece. And there are pieces that help tell the story, like Victor’s insistence on wearing a red scarf that seems to have been taken from his mother’s veil before she died years ago. (Yes, our dear scientist has mommy issues.) And OMG Elizabeth’s dress before her wedding? Sumptuous, extravagant, with silken wrapping on her arms, ala Bride of Frankenstein. It’s amazing work from Kate Hawley and her crew.

The set design is equally detailed, with maximalism the rule of the day. Even the grotesqueries are beautiful. The lab, looking like an art deco abattoir, is sure to be the standard for future adaptations. Okay fine; there are a few moments that put me off my popcorn. The after-effects of a skull crushing fall is definitely too real for anything but horror, and Victor losing part of his leg is just plain gross. But this is a horror movie, is it not? (Sorry, I’m in del Toro dialogue mode. Roll with me.)

As Victor, Isaacs delivers a performance that’s layered, complex, and powerful. Which is a hell of an achievement for such a single-minded character as Victor Frankenstein. His Victor is filled with a narcissistic contempt of everything around him that doesn’t advance his driving need to prove something to himself, or fuel his obsession. It’s breathtakingly horrible and fascinating in equal measure. Only on his deathbed – after his creature tells his story – does Victor finally understand what he’s done.  Special shout-out to Christian Convery, who plays the young Victor. Convery’s powerful performance is leagues above typical child performances. Can’t wait to see more from him.

Elordi’s physicality as the creature is brilliant. Shows the being’s agony, humanity, and lastly, his yearning for death. Scenes between Elordi’s creature and Mia Goth’s Elizabeth – the only human in Victor’s orbit who treated the creature with empathy – and the blind villager are bittersweet heartache, because we know they’re fleeting. Goth gets to do more than simply await Victor here; her Elizabeth is the definition of Not Like Other Girls, yet Goth portrays her with an iron will and sly intellect that rises above the ways this kind of character is typically presented.

When the credits rolled, I had only one question. Oh my god, it’s over already? The end is bittersweet and beautiful, different from the original story, but fits the narrative well. My only problem? I’m kicking myself for not checking this one out in theaters. Catch this one on streaming if you must, but get yourself to the multiplex if possible. All that lush onscreen gorgeousness deserves a big ol’ screen. That’s what I’ll be doing on my rewatch.

Come for: A new look at a classic tale.
Stay for: Riveting performances and art design that will keep you coming back again and again.