Del Toro’s Near-Perfect Frankenstein Reimagines the Classic Horror Monster (Review)

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Guillermo del Toro was thrilled to finally begin work on his dream project, a film adaptation of *Frankenstein*. He’s a lifelong fan of the classic horror story and has often spoken about its influence on his own dark and imaginative movies. Del Toro has always been passionate about both Mary Shelley’s original novel and the iconic 1931 film starring Boris Karloff.

Guillermo del Toro is also known for championing the 1973 Spanish film, *The Spirit of the Beehive*. The movie tells the story of a quiet young girl whose life is transformed when a traveling cinema brings *Frankenstein* to her village. Its depiction of children using imagination amidst the backdrop of Franco’s Spain deeply impacted del Toro and his filmmaking. Having seen *The Spirit of the Beehive* at age nine, del Toro was determined to bring that same sense of magic and wonder to his own take on *Frankenstein*.

Guillermo del Toro’s take on *Frankenstein* draws more inspiration from Mary Shelley’s original novel than from the classic Universal horror film. Instead of a story about a monster rampaging and being chased by villagers, del Toro explores the reasons behind Victor Frankenstein’s creation. The film centers on the broken family dynamics that led to the creature’s birth and the further destruction that followed. It’s less of a typical “monster movie” and more of a heartbreaking Gothic romance. This approach revitalized the classic story, resulting in a truly exceptional film.

Rating: 4.5 out of 5

PROS CONS
Jacob Elordi is magnificent as The Creature. The movie is a little overlong at 2-and-a-half hours.
Del Toro makes changes that improve the original story. Some major characters end up slighted in the story.
The production design is immaculate. Not all the religious symbolism quite works.
The music score by Alexandre Desplat is magnificent

Guillermo Del Toro Reinvents Frankenstein & His Monster

Guillermo Del Toro’s take on *Frankenstein* begins much like Mary Shelley’s original story. The film opens with a ship trapped in ice, its crew desperately trying to break free and continue their voyage. Their efforts are suddenly halted by an explosion, leading them to discover a wounded Victor Frankenstein (Oscar Isaac). They bring him aboard and struggle to save his life, but their rescue attempt is interrupted by the Creature (Jacob Elordi), who attacks, determined to find Frankenstein.

Once the ship’s captain, Anderson (Lars Mikkelsen), defeats the Creature and believes it’s dead, he asks Frankenstein to share his life story, and the film truly begins. This is where Guillermo del Toro takes a unique approach to the classic Frankenstein tale. The story unfolds in two sections: first, we see Victor explain his past and the events that drove him to try and create life, resulting in a terrifying creation. But it’s the second half of the movie where the film really excels.

Del Toro makes a bold choice by letting the Creature return to the ship and take control of the story, essentially becoming the narrator for the rest of the film. Rather than portraying the Creature as the frightening monster traditionally known as Frankenstein’s Monster, Del Toro presents him with sympathy, revealing the true monstrous figures within the narrative. This results in what many consider the most compelling and nuanced cinematic portrayal of the Creature ever created.

Oscar Isaac gave a great performance as Victor Frankenstein, but Jacob Elordi truly shines as the Creature. This is key because director Guillermo del Toro wanted the film to focus on the theme of family, rather than just the science behind the creation. The movie doesn’t just show *how* Victor made the Creature, but explores *why* and what that means for both of them. Victor tries to play God, but when a creator abandons their creation, what happens to what’s been made?

Del Toro is particularly passionate about this story, layering it with religious imagery. Some of these symbols are incredibly effective – for example, the way Victor views himself as a god and the creature’s pose during the lightning strike echoes a crucifixion. Other symbols are a bit obvious, like the fiery angel in Victor’s dreams. But all of this imagery serves a purpose: Victor’s belief in his own godhood drives his actions until he finally understands the consequences of what he’s done. Only then does he abandon his creation, leaving it to face a hostile world alone.

Frankenstein Does Seem a Little Overlong, But It’s Worth It

The movie *Frankenstein* is quite lengthy, clocking in at two and a half hours, and it occasionally feels that long. However, the story’s complexity justifies the runtime. The first half is a bit slow, focusing on Victor’s upbringing – specifically, how his father’s harshness and his mother’s death drive him to pursue the creation of life. This section spends considerable time establishing Victor’s transformation into the scientist he becomes, and it introduces Henrich, played by Christoph Waltz, who financially supports Victor’s experiments for purely selfish gains.

One weakness in *Frankenstein* is the underutilization of the character Henrich, who, despite being well-developed, feels like a tool to advance the plot. This is especially unfortunate considering his importance to the story. The film also features Henrich’s niece, Elizabeth (Mia Goth), who is reimagined as the fiancée of Victor’s brother, William (Felix Kammerer), instead of Victor’s intended wife as in the original. Unfortunately, Elizabeth similarly feels like a plot device, and Goth’s talent isn’t fully showcased. Despite this, both Waltz and Goth deliver strong performances, even though the story doesn’t center around their characters.

Guillermo del Toro’s version of Frankenstein focuses on the complex relationship between Victor and his creation. Victor is consumed by his desire to play God, blinding him to his own monstrous behavior. The Creature, unlike previous depictions, is portrayed as genuinely innocent and loving towards Victor, viewing him as a father figure. He experiences betrayal and loss, mirroring Victor’s own troubled relationship with his father, but remarkably, these hardships don’t corrupt him into the typical monster audiences expect.

Jacob Elordi’s performance as a complex and heartbreaking character is likely to be recognized with awards, and many believe he deserves an Oscar nomination. While Isaac also delivered a strong performance, this film truly showcased Elordi’s talent. Beyond the acting, the movie itself is visually stunning, particularly the impressive design of Frankenstein’s castle and the beautiful cinematography by Dan Laustsen – it’s best experienced on a large screen. Adding to the film’s strengths, Alexandre Desplat’s score is exceptional, perfectly complementing each scene with its music.

Guillermo Del Toro has hinted that this could be his last gothic horror film for a while, which would be a real loss, as many consider it his best work. *Frankenstein* will especially appeal to fans who discovered Del Toro through *Pan’s Labyrinth*. Similar to that earlier film, he builds a fantastical world, reimagining Frankenstein’s monster as a sympathetic and lovable character. By the film’s conclusion, it becomes clear who the true hero always was.

Frankenstein hits theaters on October 24 and on Netflix on November 7.

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2025-10-18 17:41