I am a sucker for monster movies. I have been since I was a kid. So when I had the opportunity to see Frankenstein early – Guillerma del Toro’s long-awaited and highly-anticipated version of Mary Shelley’s original story – I jumped at the chance. The film will be officially available on Netflix next week, but is already playing in select theaters for those who would like to see it on the big screen.
The cast is great, with Jacob Elordi as the Monster, Oscar Isaac as Victor Frankenstein, Mia Goth as Elizabeth, and Christoph Waltz, among others. I mean, come on with that group? That’s an automatic win, right? Well… It is… almost. Del Toro’s take on the classic horror story is a visual masterpiece (what else could we expect from a del Toro film? ), but ultimately falls just a little bit flat for me.
Jacob Elordi, the Monster
We start with the star of the show: the Monster. Jacob Elordi is… fine. He is serviceable as the titular character, but in all honesty, he’s not even my favorite Monster on film. To me, he is too handsome. That’s part of the beauty of Frankenstein’s monster from the books and original film – the fact that he is this massive, looming, and almost godlike (literally) creature. He has an awe and a tragedy to his character. It is supposed to be palpable.
Jacob Elordi’s Monster is not.
He is not unattractive or imperfect. He is just… less epic than he needs to be for me. I know this del Toro’s take on the monster, which I can appreciate. Physically, the character is just less monstrous than we have seen in the past. He is different, sure – but not in the way he needs to be for me to be blown away by it. He is strong, but not “monster” enough.
Victor Frankenstein and the Real Star of the Show: Oscar Isaac
Victor Frankenstein as portrayed by Oscar Isaac. Isaac is the real star of the show, and one of the biggest reasons I enjoyed the film. He brings a vibrance and an energy to the film. He is fantastic.
As for Mia Goth, I will say it a thousand times – I will watch anything she is in. She is an actress of such magnetism and ability. From her haunting stare to the way her movement is so purposeful and real, I could not take my eyes off her.
Guillermo del Toro: Beauty
This is the point where we get to del Toro’s bread and butter – the visuals. And oh, do we get a feast for our eyes in this film. From the set design and production to the cinematography, lighting, and editing, this movie is pure visual poetry. I mean, for one, the man knows how to create a world. Every shot is just so immaculately constructed. There is a classic elegance to the sets that are so well-known for in his work – haunting, gorgeous, and masterful.
Costumes All Day
I will give special recognition to the film’s costuming. I am not joking when I say that I believe Mia Goth’s first entrance in the movie is an Oscar-winner on costume alone. My sister literally gasped and said “Oh my God!” when Mia Goth’s character first appears in the movie.
Sound and Pacing
This is the part of the film that really pulls it down for me. The first is the film’s pacing. This film clocks in at just over 2 hours and 29 minutes – but let me tell you, it feels like it. The editing and movement feel off to me, as the film drags in parts that don’t need to, and rushes scenes that definitely do.
The Monster’s time with the old man on the farm is way too long for me. A really good chunk of the film’s middle part is just way too long and just… bland. The film almost hits a reverse gear of sorts, where time grinds to a crawl, and you can just see the numbers ticking by as the film drags.
The romance and emotional side of the film (especially in the second half) felt lacking for me as well. The film’s final act aims to make you feel the tragic romance between the Monster and Mia Goth’s character, Elizabeth. To feel heartbroken for the two of them and to have their story’s heartache weigh on you afterward. But there isn’t enough development in their relationship for me to feel as if I’m supposed to. There is no meat to the relationship – at least not early enough in the film to have any impact.
And, oddly enough, one of the key elements in a del Toro film that just wasn’t there for me was the sound. Sound and score are key elements in del Toro’s films. He is a master of building moments where the tone, ambiance, and emotion are wrapped in and driven by the score and sound. This film, however, had very few of those moments for me.
Closing Thoughts
The Frankenstein story has been told so many different ways over the years and in so many different media that it is near impossible for anything new to really come along and knock my socks off in the way a new take could. Del Toro’s Frankenstein (2025) falls into that category for me. It is one of the more beautiful adaptations of the story that I have seen over the years but stops there.
It’s technically sound and gorgeous, and it’s a fun watch, but it lacks the heart and soul for me.
⭐️3 out of 5 stars.
Gorgeous to look at. Easy to appreciate.
