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Overview

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.

Cast

12 people

Reviews

3 min read

The Monster in the Mirror

It feels like Guillermo del Toro has been walking toward Frankenstein for so long that I almost forgot the movie might actually arrive. He’s talked about wanting to make it for decades—fifty years, going back to seeing Boris Karloff on a tiny screen as a child—and you can feel the weight of that obsession all over the finished film. latestnetflix.com's read is that i went in expecting the usual del Toro comforts: amber liquid in glass tubes, metal groaning in the dark, Catholic gloom hanging in the air like incense.

Some of that is here, sure. But the movie that emerges is less a haunted-house reverie than a raw family rupture. Instead of leaning on the lightning-bolt iconography, del Toro keeps dragging the story toward grief, rejection, and the awful banality of parental failure.

A dark and gothic laboratory setting

The structure is bold enough to throw people. I’m still not fully sure it balances cleanly. Del Toro splits the film almost straight down the middle: first Victor’s fever dream, then the Creature’s lonely passage through the world.

That abrupt pivot creates a strange lurch in the pacing. Just when the laboratory section reaches peak hysteria, the movie drops into cold open air and stays there. Still, the disruption makes thematic sense.

The moment the Creature opens his eyes, Victor is already emotionally gone. Del Toro keeps the camera low so we mostly see the creator’s back retreating from his own work. The sets are gorgeous in the expected way—part industrial cathedral, part slaughterhouse—but he’s less interested in admiring them than in the wet, bodily mess of what it costs to make life.

Audience Opinions

Audience 7.4/10
"A visually lavish, emotionally charged take on Frankenstein powered by standout performances, but held back by simplified morality and uneven pacing."

Gothic production design, striking imagery, and an emotive score combine with Jacob Elordi’s deeply sympathetic Creature and Oscar Isaac’s intense Victor to create a powerful, memorable rendition of the classic story. At the same time, a slow-burning opening, a rushed final act, and story changes that turn Victor into a straightforward villain and the Creature into an almost purely virtuous figure leave the drama feeling less morally complex than the novel.

What viewers praise
  • Gorgeous gothic visuals Elaborate sets, costumes, and makeup, especially in the lab and arctic sequences, create an immersive, painterly world that feels both grand and tactile.
  • Jacob Elordi's Creature The Creature is portrayed with vulnerability and pathos, making his journey moving; he is the film’s emotional core.
  • Oscar Isaac's Victor Isaac plays a feverish, morally bankrupt scientist whose obsession and ego drive the tragedy with real intensity.
  • Powerful set pieces and score Key scenes like the body-assembly sequence combine precise staging with a swelling Alexandre Desplat score that captures both horror and beauty.
  • Respect for core themes The story still foregrounds creation, abandonment, and the line between human and monster, feeling like a passionate, personal vision rather than a generic remake.
Common complaints
  • Inconsistent pacing The first act can feel sluggish and unfocused, while the climax and ending rush through major events and emotional turns.
  • Flattened moral ambiguity Reframing the Creature as almost entirely justified and shifting key acts of violence onto Victor makes the story’s ethics feel simplified and less thought‑provoking.
  • Contentious deviations from the novel Changes such as the handling of Elizabeth’s fate, an added romantic complication, and the role of Christoph Waltz’s character weaken the original’s impact.
  • Thin characterization of Elizabeth Despite extra screen time, Elizabeth’s relationships and motivations come off shallow and contrived, with altered engagements and connections that rarely pay off.
  • Hit‑or‑miss CGI Certain visual effects and shots, including some late‑film sequences and regeneration moments, look artificial enough to break immersion.
Recommended for
Guillermo del Toro devotees Gothic fantasy and horror fans Jacob Elordi admirers Oscar Isaac followers Literary adaptation enthusiasts Epic slow-burn drama fans

Full Plot (Spoilers)

Spoiler warning

This section contains the full plot, including major story reveals. Overview above stays spoiler-free.

Buzz & Rumors

Public reports

Thirteen minutes of clapping, and both leads cried

Venice gave Guillermo del Toro's Frankenstein a 13-minute standing ovation on August 30, 2025. Oscar Isaac, playing Victor, and Jacob Elordi, playing the Creature, were in tears. Isaac kissed Elordi on the cheek while the applause kept going. Del Toro has chased Mary Shelley's novel since childhood. Universal once parked the project beside a Dark Universe plan and had Doug Jones in makeup tests. latestnetflix.com's read is that Netflix revived it after Pinocchio won the animated Oscar.Limited U.S. Theaters opened October 17. The stream date was November 7. Variety put the budget at $120 million.,,

This is the 2025 movie on TMDB 1062722. It is not James Whale's 1931 film, and it is not Kenneth Branagh's 1994 version. Del Toro kept saying that out loud because the internet still mixes them up.

Nine weeks to rebuild a monster

Andrew Garfield had the Creature. The 2023 strikes wrecked his calendar. He dropped out weeks before cameras. Makeup artist Mike Hill had spent nine months on Garfield's look. Del Toro told Vanity Fair they recast with nine weeks left. "You can't be under more pressure than that," he said. He also called Elordi "the most perfect actor for the creature." Elordi told Screen Daily the part was "more me than me." Del Toro's line for the panic was that anything that goes wrong is the movie trying to right itself. Garfield later told Deadline he was disappointed, then added, "I'm very, very glad that it was him doing it." A hair stylist from Priscilla had pointed del Toro at Elordi. Elordi had already joked on that set about landing Frankenstein.,,

Hill had to refit prosthetics for a 6 foot 5 actor. BBC Culture's Nicholas Barber hated the result and compared a handsome Creature to "a vegetarian Dracula." Del Toro told Screen Daily he did not want "any Boris." Mia Goth plays both Victor's mother and Elizabeth. Charles Dance is the brutal father. Christoph Waltz is the dying arms dealer who wants his brain put in the body. Production designer Tamara Deverell built 119 sets across 100 shooting days in Toronto, with extra work in Edinburgh and Lincolnshire. Alexandre Desplat wrote a lyrical score on purpose, not a horror sting.,,

The film took nine Oscar nominations, including Best Picture and supporting actor for Elordi, and won costume, makeup, and production design. Del Toro told The Independent that large portions were "autobiographical for me." Criterion later announced a 158-minute Reborn Cut beside the theatrical version. A $120 million Netflix gothic that spent two decades as a dream project, lost its Netflix-era Creature to a strike, and still showed up in Venice with both leads crying. That is the column.,,

Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.

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