Frankenstein

Elegant, beautiful, gothic horror drenched in over-designed darkness and intricately detailed aesthetics has been Guillermo Del Toro's trademark for decades. From Hellboy to Pan's Labyrinth and on to the gorgeous The Shape of Water and Crimson Peak, the Spanish visionary has proven time and again that he can squeeze the most remarkable of tales out of himself, if given the chance. Which, in the case of the adaptation of Mary Shelley's iconic, immortal tale of Frankenstein's monster, he never did. Not until now, anyway, after luring Netflix in and getting them to fork over their infinite wallets. Before that, Del Toro had been working for nearly 20 (!) years trying to get his favourite book made into a movie. And now it's finally here.

Oscar Isaac is truly superb in the lead role as Baron Victor Frankenstein.

Unsurprisingly, early on in the two hour and 29 minute saga of Dr Frankenstein and his ghoulish creation, it becomes apparent that Guillermo Del Toro is much less interested in the horror aspect of Mary Shelley's 200 year old book and more in the romantic poetic. There is a John Milton-like quality to the way he has chosen to interpret Shelley's words and unlike any other adaptation of the same source material, he manages to celebrate, honour and stay close to the source material while lifting a portion of the story that now, having seen the film, I don't quite understand why we never got before. There is a consistent philosophical reflection here on what it takes to be human. There is a tragedy and a romance that permeates every frame and still a darkness that builds that gothic atmosphere, for which Del Toro (as I said) has made his name.

The cinematography is superb and will undoubtedly win an Oscar.

Frankenstein (2025) is divided into three distinct chapters and it opens with an epilogue in which the wounded, bloody Baron Victor Frankenstein is chased across a beautiful icescape by his own creation. After that, Del Toro stylishly jumps to a chapter called Victor's Tale and then throws me as a viewer further into The Creature's Tale, which of course gives an insight into the monster's mindset and desperate hunt for his creator, as a direct counterpoint to the chapter before. I really don't want to talk too much about how the story is structured here or which parts of the book Del Toro focuses on in particular, but suffice to say that it's clear that Guillermo has been working, if only in his mind, since 2005 on how he would ideally choose to structure a film adaptation of his absolute favourite book. There is an elegance to the storytelling here and a skill in the dramaturgical prioritisation that keeps returning to the theme that Del Toro has been dealing with for four films now: What does it mean to be human?

Jumper cables in the back, you say? I'll take it!

Oscar Isaac is convincing from the first to the last frame as Baron Frankenstein, despite the fact that he has a ridiculous haircut, acts theatrically and often exaggeratedly with a kind of old-fashioned capacity, including all the loud theatre dialect and wild costume choices. A less capable leading man could certainly have spoilt Del Toro's grand vision, but not Oscar, because the man really is always consistently superb. He has an ability to change the pace of his own monologues and dialogues that enhances the storytelling enormously. From calm and with a methodical, emotionless stoicism, he is not infrequently overwhelmed by his own emotions and allows himself to be led through entire key scenes by them. Isaac's presence and natural intensity work incredibly well here and he's so good that I sincerely hope he'll be in the conversation for a possible golden boy at the start of 2026.

Jacob Elordi in the role of the monster is also absolutely brilliant. Del Toro has chosen to interpret Shelley's description of the sewn-together beast of flesh a little differently than previous filmmakers, creating a character who is as hideous and physically threatening as he is beautiful and vulnerable. This, of course, is key to the more romantic tone with which the story is told, and Elordi has a rare ability to mix a kind of menacing elegance with outbursts of rage and displays of his somewhat unhinged strength, including picking up attacking wolves and folding them in half as if they were ice-cream sticks.

Behind the camera, Del Toro has had the good taste to once again place Danish Dan Laustsen, who is behind the unbearably beautiful images that form everything from Crimson Peak to Shape of Water. The cinematography throughout the 149 minutes of Frankenstein is so hauntingly beautiful, which thanks to Brandt Gordon and Celestria Kimmin's phenomenal art design makes this by far the most gorgeous feature film of the year. The music is fantastic, too. Academy Award winner Alexandre Desplat (who won for his score in The Shape of Water) mixes a kind of gothic menace and angry intensity with a lot of very beautiful, sweeping pieces that contribute to that lovely sense of timeless, old-fashioned storytelling that Del Toro does so well.

An epic, beautiful tale.

In a film world where 99% of everything released is either remakes/reboots or more brain-dead, identity-less superhero movies made almost exclusively in front of the green screen, it's so incredibly nice to be reminded via a film like this of what the entertainment form is basically made for. Magnificent, captivating, atmospheric and beautiful fairy tales that enchant and make 149 minutes feel like 14. Hats off, Guillermo.