Frankenstein Review: When I first heard Guillermo del Toro was making a Frankenstein movie, I didn’t need any trailers, casting announcements, or press hype. Just the words “del Toro” and “Frankenstein” together were enough. It felt like destiny. He’s always been the master of misunderstood creatures—The Shape of Water, Pan’s Labyrinth, even Pinocchio. So when this project became the big-ticket film at this year’s Venice Film Festival, it instantly shot to the top of my “must-watch” list.
After finally seeing it in Venice, I walked out with mixed but mostly positive feelings. It’s a striking film, overflowing with the kind of visual imagination only del Toro can bring, but it also stumbles in some unexpected ways. Let’s break it down.
My Rating: ( 3.5/5 )
| Movie Title | Frankenstein |
|---|---|
| Director | Guillermo del Toro |
| Screenplay | Guillermo del Toro |
| Main Cast | Oscar Isaac (Victor Frankenstein), Jacob Elordi (The Creature), Mia Goth (Elizabeth), Christoph Waltz (Harlander), David Bradley (Blind Farmer) |
| Genre | Gothic Horror / Drama |
| Runtime | Approx. TBD (expected 2+ hours) |
| Release Platform | Netflix |
| Festival Premiere | Venice Film Festival 2025 |
| Language | English |
| Country | United States |
The Story We Know, Through Two Lenses
You probably know the classic tale: Victor Frankenstein (Oscar Isaac), a brilliant but egotistical scientist, creates a living being through a dangerous experiment. That “monster” (played here by Jacob Elordi) is born out of ambition and hubris, but the creation quickly leads to tragedy for both maker and made.
What del Toro does differently is frame the story from both perspectives: the creator and the creation. It’s a smart move—it gives the film a duality that ties into its themes of life and death, God and man, hubris and loneliness.
My Venice Experience – The Reactions Were Divided
Leaving the theater in Venice, I noticed something interesting: people were divided. Some critics loved it, some didn’t like it at all. Even among film friends, reactions ranged from “masterpiece” to “meh.” Personally? I lean positive. I was often swept up in it, even though I can’t say it’s peak del Toro.
It’s good. Sometimes very good. But not his best.
The Visuals – Gorgeous, but Not Always
One of the reasons I adore del Toro is because his films look alive. The textures, the sets, the details—there’s usually not a false note. And while Frankenstein definitely delivers on production design (wait until you see the Gothic tower!), the opening sequence on the frozen seas of 1857 felt… off.
It leaned too much on green screen, the violence was oddly Marvel-like, and it carried this artificial sheen that I don’t usually associate with his work. Thankfully, once the film settles into Victor’s castle, that issue fades. The mossy walls, the Gothic architecture, the cavernous lab—it’s pure del Toro, and it feels like stepping into one of his sketchbooks come to life.
Standout Sequences – Where the Film Truly Breathes
Two things stood out for me:
- The Assembly Scene – Watching Victor sew together severed limbs, tugging on tendons like puppet strings, while Alexandre Desplat’s score plays a strangely romantic theme… It’s grotesque and beautiful at the same time. That’s del Toro magic: horror stitched with tenderness.
- The Monster and the Blind Farmer – The heart of the film is in the chapter where the creature befriends a blind farmer (played by David Bradley). Their scenes reminded me of The Shape of Water—two outsiders finding connection. It’s moving, human, and far more touching than the central romances.
Performances – The Monster Steals It
Oscar Isaac (Victor) and Mia Goth (Elizabeth) deliver solid performances, and Christoph Waltz is entertaining as Harlander, but it’s Jacob Elordi who surprised me the most. His take on the monster is physical, raw, and vulnerable. You see the awkwardness of a newborn trapped in a broken body, mixed with the tortured soul of someone searching for identity.
David Bradley, too, deserves a mention. His scenes with Elordi left me unexpectedly emotional. Honestly, their friendship hit harder than any of the film’s romances.
Where It Falters
The biggest issue? Some of the writing. Del Toro’s visuals scream subtlety and metaphor, but occasionally the script feels the need to spell things out. Lines like “You’re the real monster” made me wince because, well, we already get it. It’s the kind of dialogue that undercuts the film’s otherwise strong visual storytelling.
Also, while the makeup, costumes, and score are exceptional, some CGI shots looked surprisingly flat. For a film this ambitious, those weaker effects stood out more than they should have.
Also Read: The Toxic Avenger Review – The Bloodiest, Craziest Remake You’ll See This Year
Good vs Bad in Frankenstein
| The Good | The Bad |
|---|---|
| Jacob Elordi’s heartfelt, physical performance as the monster | Over-reliance on CGI in some key scenes |
| The monster & blind farmer chapter – pure emotional core | Opening sequence feels artificial and Marvel-like |
| Alexandre Desplat’s hauntingly romantic score | Occasional heavy-handed dialogue (“You’re the monster”) |
| Gothic production design & detailed costumes | Uneven pacing in the first act |
| Del Toro’s eye for metaphors & visual poetry | Not quite top-tier del Toro compared to Pan’s Labyrinth or The Shape of Water |
Awards Potential – Technical Heavyweight
- Best Makeup & Hairstyling (the monster design is jaw-dropping)
- Best Costume Design (Mia Goth’s wardrobe deserves a standing ovation)
- Best Original Score (Desplat once again proves why he’s one of the best)
- Best Production Design & Cinematography
As for Best Picture or acting nods? Less likely, though Netflix could push hard.
Final Verdict Of Frankenstein
Like Frankenstein’s monster itself, this film is stitched together from brilliant pieces, but the whole doesn’t always feel greater than the sum of its parts. Still, I was engrossed, I was moved, and I absolutely plan to revisit it.
If you’re into gothic horror, tragic monsters, and del Toro’s flair for beauty in the grotesque, you’ll find plenty to love here. Just don’t expect his masterpiece.
FAQs about Guillermo del Toro’s Frankenstein
Q: Is del Toro’s Frankenstein faithful to the book?
A: It stays true to the spirit and themes of Mary Shelley’s novel but filters them through del Toro’s signature style—emphasizing misunderstood monsters and gothic grandeur.
Q: Who gives the best performance in the film?
A: Jacob Elordi as the monster. He brings a mix of physical intensity and emotional vulnerability that makes the creature the film’s tragic heart.
Q: Is the film scary?
A: Not in a traditional jump-scare way. It’s more haunting, tragic, and occasionally grotesque with its body-horror imagery.
Q: Could it win Oscars?
A: Very likely in technical categories like Makeup, Costumes, and Score. Best Picture is possible but not guaranteed.
Q: Should I watch it if I’m squeamish?
A: Be warned—there are some gruesome sequences, especially in the monster’s creation. If you’re sensitive to gore, it might be tough.
That’s my full review. Personally, I think del Toro fans will find enough here to celebrate, even if it doesn’t quite reach the heights of his best work.
