Double Dare You
Not part of a collection.
Frankenstein
Only monsters play God.
Dr. Victor Frankenstein, a brilliant but egotistical scientist, brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.
- Original title
- Frankenstein
- Language
- EN
- Country
- US
- Budget
- $120,000,000
- Revenue
- $480,678
The Fixate & Binge Podcast, w/ Joe Curdy
Jul 29, 2026 · via TMDB
A near-flawless stroke of genius by one of the best directors working in cinema today -- Guillermo Del Toro's **FRANKENSTEIN**, a long gestating passion project is a gothic masterpiece that celebrates its literary origins while offering viewers a sumptuous, Victorian period-piece that both horrifies and fascinates. Del Toro's cast -- Oscar Isaac's Victor Frankenstein, Jacob Elordi's The Creature, Christoph Waltz's Henrich Harlander, Lars Mikkelsen's Captain Anderson, Felix Kammerer's William Frankenstein and Mia Goth's Elizabeth Harlander -- stand up wonderfully to the sumptuous set pieces, incredible make-up work, gorgeous cinematography and creature effects that with a less-talented cast could easily be upstaged by all the splendour. Del Toro's take on the story very much aligns with the 1818 novel ***Frankenstein; or, the Modern Prometheus*** by Mary Shelley, as evidenced by the backstory of a young Victor Frankenstein's affluent upbringing by a cold and domineering father and the tragic death of his mother. (There's an intentional double-casting in this film from Del Toro that hits directly on the nose that carries with it psychological underpinnings of Isaac's portrayal of Frankenstein that almost ensures endless examinations through Freudian and Jungian lenses -- adding another layer to an already multitudinous take on the story). Though the story is a familiar one, Del Toro's characteristic style for the macabre, radiates with brilliance and gothic terror throughout this film which seems more prescient than ever for the questions it poses more than 200 years after Shelley's novel about existence, sentience, and consent. The shadow Del Toro casts over the mythos of Frankenstein here might stretch for so long that Maggie Gyllenhaal's upcoming **THE BRIDE** (2026) starring Christian Bale and Jessie Buckley could be doomed before it even gets off the operating table. Such a shame that the lion's share of viewers (such as myself) had to condescend to see the film on the small screen, despite its very grandiose and epic proportions. It is a beautiful film to look at -- and even richer film to absorb, powered by Del Toro's meticulousness and the performances of Isaac and Elordi. Could it be a Best Picture contender this year? I wouldn't bet against Del Toro...
badelf
Dec 26, 2025 · via TMDB
Guillermo del Toro's "Frankenstein" is visually sumptuous and emotionally powerful, but it arrives at precisely the wrong moment in history with precisely the wrong message. While somewhat more faithful to Shelley's narrative structure than other adaptations, del Toro diverges widely in emotional context. He has recast Victor's hubris and the sin of playing God into a story about generational violence: abusers of children are often abused themselves and unhealed. The novel's cruelty has been transformed into human understanding and forgiveness. This would be admirable if we lived under the rule of Pope Leo, and not under a fascist. The problem is that Shelley's strong moral lines have been smoothed over. Victor's accountability for his monstrous creation is softened into trauma and reconciliation. The Creature forgives. Victor apologizes. Peace is made. It's beautiful, cathartic, and deeply appealing to modern audiences. And that's precisely the danger. Modern society is largely composed of people who do not acknowledge or take responsibility for their actions. We see this every day in the political landscape forged by a pedophile, where horror is smoothed over, excused, and forgiven without consequence. Del Toro is guilty of playing to this audience, offering absolution when accountability is what we desperately need. Frankenstein wasn't meant to comfort us. It was meant to terrify us with the consequences of our hubris.
Dark Jedi
Dec 22, 2025 · via TMDB
Given how the woke brigade at Netflix have pretty much ruined everything they got their hands on for years now I have to say that I was not entirely optimistic when I and the kids sat down to watch Netflix’s adaptation of Frankenstein yesterday. However, for once, they made a surprisingly good movie. Although it, not surprisingly, do not follow the book in every detail and there are quite a bit of artistic freedom taken, it does follow the main thread and the spirit of the book. Frankenstein’s creation is portrayed as both a scary “monster” and as the victim it really is. I think the design of the monster was quite well done and “realistic” if you can use that term about a work of science fiction like this. I would have been disappointed if they had gone for the silly look with bolts sticking out of his head as in the stereotype created by the early movies. Frankenstein himself was well played but they overdid it a bit with his psychopath character. I mean come one, he behaved like a abusive alcoholic father towards his creation from the moment he was “born”. Of course things would go bad. I know the monster gets the short end of the stick in the book as well but his behavior felt way overdone. Anyway, overall the sceneries and the Netflix version of the story was not bad. Frankenstein’s laboratory, or evil lair if you so wish, were quite well done. I would say that this was a very good adaptation of the story. It had depth, some gory monster action, good cinematics and not really any forced politics or woke rubbish.
Brent Marchant
Dec 16, 2025 · via TMDB
An old adage in Hollywood advises against remaking the classics, since there’s a good chance the new iterations won’t live up to the quality of their predecessors (of course, given the plethora of reboots that have flooded the movie market in recent years, that admonition obviously hasn’t stopped ravenous producers from attempting to cash in). About the only way to potentially avoid the pitfalls of that trap is to devise remakes that provide different spins on their original stories, coupled with fresh new looks visually, changes akin to applying a new coat of paint. And, to a great degree, that’s precisely what viewers can expect from the latest retelling of the classic horror tale, “Frankenstein,” based on the time-honored novel by author Mary Shelley. In this current adaptation from writer-director Guillermo del Toro, the filmmaker recounts the odyssey of 19th Century scientist Dr. Victor Frankenstein (Oscar Isaac) in his attempt to overcome death by creating new life (essentially an effort to play God by reversing what’s seen as mankind’s inherently unavoidable fate). In the process, he creates a creature (Jacob Elordi) in the image of his own singular vision, one that draws upon the newly emerging scientific knowledge and technology of the day. But can his plan work? What’s more, is science by itself enough to make such a miracle happen? Or does this undertaking call for something loftier, elements rooted in ethics, morality, compassion, humanity and divine wisdom? And can a mere mortal like Dr. Frankenstein successfully pull off such an accomplishment without these qualities free of unintended ramifications? The director’s ambitions to infuse such grand notions in an otherwise-timeless tale of classic horror are indeed admirable, and the high-end look of the film is truly impressive. But are these attributes enough to distinguish this version of the story sufficiently and allow it to stand on its own? In my view, the results on this front are decidedly mixed, not so much because of failings on the aforementioned elements but because of shortcomings in other more fundamental filmmaking considerations. In particular, this edition could use improvements in pacing, writing and editing – issues not uncommon in a number of del Toro’s previous efforts – especially in the production’s opening half. For instance, the setup leading to the creature’s eventual emergence is noticeably bloated, belaboring narrative aspects that viewers are likely already well familiar with and thereby trying the patience of the typical moviegoer, regardless of how cinematically stunning the picture’s images might appear (credit this offering’s gorgeous cinematography, production design and special effects). Admittedly, the film’s second half is far more compelling than what precedes it, helping to offset some of the prevailing tedium, but it’s safe to say that the picture’s overall 2:29:00 runtime could be cut back without losing much. This version of “Frankenstein” genuinely has its strong points, but it could have used some tidying up to make it the masterpiece it aspires to be – and otherwise might have been.
MovieGuys
Dec 3, 2025 · via TMDB
"Frankenstein", Mary Shelly's epic work, is, at its heart, a cautionary tale, of man's scientific hubris, defying both God and nature. Lets start by saying this film is, in most respects a more than decent. Acting is, for the most part, outstanding, as are the creature effects. What can be honestly said, however, is this film bears only a remote resemblance, to Shelly's novel. The core of this story, as I see it, is a dysfunctional father son relationship. Victor Frankenstein's own failed relationship, with his father, is mirrored in his callous and at times, cruel, treatment of his surrogate son, the creature, he conjures into existence. Is that a bad thing? I guess it depends on your point of view. As an ardent Shelly fan, (I was actually in the process of re-reading Frankenstein, when this was released) it felt a little lacking. The relationship between the creature and Frankenstein, is markedly less complex, than that portrayed in the novel. The creature in the book, is a tragic, ultimately sympathetic figure but also capable of considerable guile and cruelty. These aspects of its personality, are downplayed, in this tale. Victor Frankenstein is, for his part, more someone who has showen an horrific, irrevocable, error in judgement and is now trapped, as opposed to being overtly cruel and callous. In summary, "Frankenstein" bears only a passing semblance to Shelly's remarkable work. This is a decent film, of that there can be no doubt but it needs to viewed in isolation from the novel. The underlying message is something of a departure. Certainly its not as sophisticated, in terms of the relationship it establishes between Frankenstein and his creation. Nonetheless, worth a look.
Bri
Nov 26, 2025 · via TMDB
_“An idea, a feeling became clear to me. The hunter did not hate the wolf. The wolf did not hate the sheep. But violence felt inevitable between them. Perhaps, I thought this was the way of the world. It would hunt you and kill you just for being who you are.” _ _**Frankenstein** (2025)_ is truly a gem. This reminded me a lot of the original and the connection between what is human and what is monstrous was reflected well in the script. The cinematography and editing fit this story perfectly. Why is it always women who humanize what others perceive as dangerous? Mia Goth portrayed Elizabeth beautifully and she fits the gothic genre to a T. I love how they showed the way each character interacted with him and how one humanized him (pronouns: he) and the other dehumanized him (pronouns: it). Some things were a little too on the nose. But Im letting it slide for the pure enjoyment and emotion the film provoked in me. If you’re going to ask if I cried, act like you know me. You know I did. Of course, I always praise Oscar Issac for any and everything he’s in. He brings characters to life so well I’d watch a film of him watching paint dry. I didn’t know Jacob Eldori was in this until the credits and bravo to him for being a convincing son of Frankenstein. Would definitely watch this again!
User reviews courtesy of TMDB.
Netflix
Netflix Standard with Ads
Oscar Isaac
Victor Frankenstein
Jacob Elordi
The Creature
Christoph Waltz
Harlander
Mia Goth
Elizabeth / Claire Frankenstein
Felix Kammerer
William Frankenstein
Charles Dance
Leopold Frankenstein
David Bradley
Blind Man
Lars Mikkelsen
Captain Anderson
Christian Convery
Young Victor Frankenstein
Nikolaj Lie Kaas
Chief Officer Larsen
Kyle Gatehouse
Young Hunter
Lauren Collins
Hunter's Wife
Sofia Galasso
Anna-Maria
Joachim Fjelstrup
Dr. Udsen
Ralph Ineson
Professor Krempe
Peter Millard
Professor Stokeld
Peter MacNeill
Professor Maurus
Burn Gorman
Executioner
Sean Sullivan
Old Hunter #1
Stuart Hughes
Old Hunter #2
Gord Rand
Silversmith
Kenton Craig
Harlander's Butler
Val Ovtcharov
Outpost Clerk
Anders Yates
Torfussen
Adam Brown
Prisoner #1
Santiago Segura
Prisoner #2
Shian Denovan
Nymph
Mark Steger
Spinal Corpse
Gregory Mann
Head Urchin
Roberto Campanella
Dark Angel
Kim Morgan
Guest at Wedding and Bistro
Alex Henderson
Bistro Dancer
Matthew Barr
Museum Bookshop Patron
Luca Mehta
Student (uncredited)
Shane Vieau
Set Decoration
Gilles Corbeil
Camera Operator
Dan Laustsen
Director of Photography
Kate Hawley
Costume Design
Jordan Samuel
Makeup Department Head
Michelle Eisenreich
Executive Visual Effects Producer
Lee Morrison
Stunt Coordinator
Marshall Virtue
Stunt Coordinator
Adam Winlove-Smith
Stunts
Al Vrkljan
Stunts
Alex Armbruster
Stunts
Bart Badzioch
Stunts
Bas Reitsma
Stunts
Brent Connolly
Stunts
Caitlin McNerney
Stunts
Clayton Grover
Stunts
Colin Decker
Stunts
Daniel Cudmore
Stunts
Dillon Jagersky
Stunts
DL MacDonald
Stunts
Doren John Farmer
Stunts
Dylan Rampulla
Stunts
Elizabeth Donker Curtius
Stunts
Ess Hödlmoser
Stunts
Geoff Scovell
Stunts
Ivett Gonda
Stunts
James Eddy
Stunts
Jason Oettle
Stunts
Jean Frenette
Stunts
Jean-François Lachapelle
Stunts
John Stead
Stunts
Jonathan Vellner
Stunts
Joshua Maloney
Stunts
Kelly Jones
Stunts
Maxime Savaria
Stunts
Nicholas Daines
Stunts
Nicolas Van Burek
Stunts
Peter Guiney
Stunts
Sharon Canovas
Stunts
Stéphane Julien
Stunts
Violet Verigo
Stunts
Alejandro G. Iñárritu
Thanks
Alfonso Cuarón
Thanks
Bill Hader
Thanks
James Cameron
Thanks
Jon Favreau
Thanks
Rian Johnson
Thanks
Steven Spielberg
Thanks
Guillermo del Toro
Director
Evan Schiff
Editor
Brit DeLillo
First Assistant Editor
Melissa Girotti
Line Producer
Guillermo del Toro
Producer
J. Miles Dale
Producer
Scott Stuber
Producer
J. Miles Dale
Unit Production Manager
Alexandre Desplat
Conductor
Goro Koyama
Foley Artist
Alexandre Desplat
Original Music Composer
Adrian Millington
Animation Supervisor
Dominic Tuohy
Special Effects Supervisor
Alun Cummins
Visual Effects Producer
Ayo Burgess
Visual Effects Supervisor
Dennis Berardi
Visual Effects Supervisor
Ivan Busquets
Visual Effects Supervisor
Mary Shelley
Novel
Guillermo del Toro
Writer
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The Bride!
Sleepwalkers
Gretel & Hansel
The Transfiguration
Baby Blues
No Such Thing
1922
Gaia
The Surrender
Starve Acre
The Ritual
The Unhealer
Don't Be Afraid of the Dark
Lifechanger
Aug 30, 2025
Telluride Film Festival
Oct 17, 2025
Oct 19, 2025
Philadelphia Film Festival
Nov 6, 2025
GuadaLAjara Film Festival
Nov 7, 2025
Netflix
Oct 27, 2026
