By Joel Williams 13/10/25 at London Film Festival
What is life, without death. A question this story teases you with but never feels like it quite gets to the core of anything substantial. At times a delight to look at with a discerning style to it overshadowed by burning desire to explore the less interesting parts of this gothic tale.
Oscar Issac in “Frankenstein” Photo Credit: Netflix
Official synopsis of “Frankenstein” 2025, A brilliant but egotistical scientist brings a monstrous creature to life in a daring experiment that ultimately leads to the undoing of both the creator and his tragic creation.
Directed by Guillermo Del Toro and starring Oscar Isaac as Dr Victor Frankenstein and Jacob Elordi as The Creature.”Frankenstein” is based upon the best selling book under the same title, written famously by Mary Shelley.
There was a level of intrigue I had going into this, a famous tale of complex themes that intertwine together through the story. Led by the direction and passion of Del Toro, the bones of an all timer existed. A tale of 2 halves and 2 characters complete the seismic split this film creates in my mind. Victor’s perspective of the story never felt compelling enough to warrant the screen time it was allowed. Over-blown in it’s execution there was never a level of investment needed from me to get an emotional reaction from Victor’s life and troubles. A narrative structure here that doesn’t seem to get the best out of what it has to offer, it takes a good hour and a half of meandering to get to the perspective of the creature which is where the film begins to excel.
Jacob Elordi give his best performance of his career. Physical, haunting but with a harrowing beauty there is so much depth to his eyes, Del Toro describes them as ‘so full of humanity’ and dare I say I agree, I just wish there was more of him. Oscar Isaac is very good in his role as the mad scientist and gives a committed performance, sells the madness and desire for progress in science but yet never captivates you with his side of the story, no nuanced emotions that you can sit with and explore within your own self. A standout for the small amount she is on screen is Mia Goth, the tenderness she shows to the monster in the quiet moments are a moment to behold as we begin to understand that the monster is more than just that, a monster. Something that could have been explored in a deeper way could have had a profound impact on the emotional climax of this film that in the end doesn’t feel entirely earned.
Jacob Elordi in “Frankenstein” Photo Credit: Netflix
“Frankenstein” is a story so famous and done so many times, it’s hard to stand out and be different in it’s approach. The moral of this story has always been, ‘who is the real monster’ but there’s a far more interesting look you could take from this which is what is life like without death. Immortality is a concept we never get into much detail on. The idea of a creature wanting to feel it’s mortality and go on a journey on what life beholds is started but never feels quite finished or fleshed out in a meaningful way to take this film to another level.
Mia Goth and Oscar Issac in “Frankenstein” Photo Credit: Netflix
As with the dichotomy of the two characters, i’m the same with how I see this film visually. Production design as expected is top notch, led by Tamara Deverell, combined with some beautifully composed shots especially towards the end. Sets that evoke the gothic era and enhance the storytelling in a positive way, the dirt and grime of the tower leaps of the screen, it feels alive aided by Shane Vieau’s set decorations. Lighting is where there is a stark contrast in what we see on screen, lighting that enhances what we see until it becomes too harsh where it takes away from some of the longer wides and internal shots. Composition by Alexandre Desplat sits alongside this world fabulously with the dark and gothic tones contrasting the small moments of tenderness in a soulful way.
There’s beauty in pain, as seen through the eyes of a creature created out of it’s own free will. A new take that sits well from a production and in some parts visual standpoint. But a lack of intrigued can lead to an overlong slow moving boat waiting to get to a climax it never fully earns. A creature highlight by Jacob Elordi of which you’ll wish there was more of, a decent but flawed adaptation.
Releasing in select UK cinemas October 17th and on Netflix November 7th.
