★★★★☆
Some stories seem to be frozen in history. Although their lessons are timelessly dissected and studied, they are rarely felt with any sense of urgency.
Mary Shelley’s 1818 novel, Frankenstein, the seminal tale of the consequences of playing God, is one such story.
But in the hands of Guillermo del Toro, the tale sheds its dust.
In an age defined by rapid technological transformation, del Toro’s adaptation turns Shelley’s novel into a mirror for the present moment. It does not merely retell the classic narrative but reimagines it as a hauntingly contemporary reflection on what it means to create and what it truly means to be human.
As AI reshapes society and challenges our understanding of life itself, del Toro’s Frankenstein feels more resonant today than ever.
With a release date just before Halloween, the film’s timing is as poetic as it is ironic. Officially categorized as a horror, sci-fi film, labeling it as “horror” diminishes its complete emotional and philosophical depth. Perhaps, though, that classification is intentional.
Audiences might enter the theatre expecting a Conjuring-style scare fest, but when watching the movie, one quickly realises that the true horror presented is far quieter and infinitely more unsettling.
What is horrifying is not in gore but in the sheer terror of indifference, of a mind so consumed by ambition that it simply cannot recognize the humanity of what it has created. Unlike previous adaptations that leaned on suspense, del Toro’s version is way more introspective.
In terms of characters, Victor Frankenstein (Oscar Isaac) is a boundary-pushing man whose desire to cheat death blinds him to the responsibilities that follow. Del Toro makes sure the audience understands the backstory of Frankenstein’s monstrosity. Through the depiction of Victor’s father, Leopold Frankenstein (Charles Dance), the film brings to life the cyclical nature of generational cruelty.
The same emotional neglect in Frankenstein’s childhood manifests in his treatment of the creature. It reminds us that monstrosity is not just something you are born with, but is often inherited through a legacy of pain and abuse.
Jacob Elordi is equally compelling as Victor’s creation. Del Toro humanizes a being who, in many previous adaptations, is often reduced to a faceless monster. Instead, he focuses on the creature’s yearning for acceptance. Every act of violence the creature commits stems not from innate evil, but as a consequence of the isolation and the torment he has endured.
The audience is compelled to have an overwhelming sense of empathy for the creature. Elordi embodied the character with near-perfect vulnerability—the fact that he was a second pick for the role after Andrew Garfield seems unimaginable.
In the cast list, Elordi notably appears without a character name, a deliberate choice by del Toro. This mirrors Shelley’s original novel, where Frankenstein abandons his creation before he is ever named, thus denying him identity.
Referred to only as “creature” or “monster” throughout the movie, he embodies the alienation society imposes on those it cannot or will not understand. He highlights that the real monstrosity does not lie in the act of creation itself, but in the creator’s refusal to recognize the humanity in what he has made.
The film, then, suggests that the true monster is not the creature who seeks acceptance, but Frankenstein, the one who looks upon life and fails to see a soul—a powerful message extremely potent in today’s world.
Mia Goth also shines as Elizabeth Lavenza, bringing fresh depth to the story. In a deviation from Shelley’s novel, Lavenza is not engaged to Frankenstein himself but to his brother, William. This further emphasizes the tension of desire and obsession within Frankenstein.
Frankenstein, visually, is a breathtaking piece. While the gruesome gore does get a bit graphic at moments, it is all part of the gothic fun. The use of colour was most alluring, particularly the recurring red motif which runs consistently throughout the film.
Frankenstein is a cinematic experience that would not be fully appreciated from the living room. This is a film that is truly meant to be seen on the big screen.
As a whole, Frankenstein is a film that transcends simple categorization. While it contains elements of horror, tragedy, science fiction, and drama, its deepest strength lies in its philosophical core.
