Frankenstein (Guillermo del Toro, 2025, Mexico/USA)

Guillermo del Toro’s Frankenstein is arriving at a time of renewed interest in the classic Universal-era monsters, coming a year after Robert Eggers’ Nosferatu and arriving nearly at the same time as Bride of Frankenstein reboot The Bride. An adaptation that del Toro wanted to make since childhood, the film has been gestating for a long time. Having achieved more than most directors in his career, del Toro is now at a stage where he has nothing to prove, and he wants to bring his dream projects to life. Netflix’s budget here ($100M+) definitely helps.

Del Toro’s Frankenstein takes some elements from the classic Universal film (the laboratory sequence), some elements from Mary Shelley’s original novel (the alternating narration between Victor Frankenstein and his monster), and some elements that are wholly new (the subplot with Christoph Waltz’s character, for example). The end result, clocking in at around two and a half hours, aims to satisfy Universal monster fans while also becoming the canonical version of the story for those who may have not grown up with the classic Universal monsters. Elordi is a commanding presence as the monster and a highlight of the film. There is a physicality to his performance that is quite impressive.

If there is a weakness in Frankenstein, it is certainly at the script stage. Del Toro is a great visual storyteller, but his best collaborations often involve a co-writing credit. Here he is working from his own script, and as such, the pacing of the film is a bit mixed. There are segments of the film that feel they go on for too long (the monsters’ stay with the old man, for example). There are characters as well who feel underdeveloped. Overall, Frankenstein is something of a mixed bag, but it is worth appreciating for its ambition.

7/10VazqS