November 10, 2025 · Watch the official trailer
Cinephiles who've been watching the films of Guillermo del Toro for years could've seen this coming from a mile away.
Every frame, every rich tapestry and inventive creative decision that the auteur filmmaker has carefully and explicitly crafted over decades of moviemaking has led him towards perhaps his boldest, biggest passion project to date.
Given ultimate creative freedom from his extended partnership with Netflix, del Toro takes his modern Gothic fantastical eye to the world of Mary Shelley’s “Frankenstein” – an epic baroque tale of fathers and sons and existential questions about humanity that make for elegant, breathtaking cinema that becomes moving pictures of art.
Slightly restructuring the original source novel to truly capture the differences between the famed doctor and his creature, del Toro weaves his tale into distinct parts, each anchored by a magnetic lead performance that reimagines the source material yet gives viewers a firm grasp of what makes “Frankenstein” endure.
Key to the film’s success of is the unique duality del Toro brings out in the narrative through the contrasting performances of its two leads.
Oscar Isaac is dynamic, broad, and brash as the relentlessly inquisitive, overzealous Victor Frankenstein, a man imbued with fervent passion for cheating death after the loss of his mother. Though the emotional toils his character suffers at a young age are never fully resolved in the film, Isaac’s gusto combined with pure gravitas create a dynamic, ever-so-slightly exaggerated turn that draws audiences in and breathes life into what could easily become a stagnant piece of movie making.
Conversely, “Priscilla” star Jacob Elordi brings a quiet, emerging humanity to the creature – slowly, methodically, yet subtly evolving his character as the creature learns to communicate and rehabilitate the humanity sown into him from disparate body parts. There is a stark, overly smooth, almost panther-like stride to each intentional physical decision Elordi makes despite heavy prosthetics covering his body, providing a level of depth viewers likely weren’t expecting.
Independently, Isaac and Elordi feel like two men on separate paths, only somewhat coming into contact for key critical moments – halves of the full frame in del Toro’s head.
And while these performers breathe life into fully realized characters, what gives them their grandiose feel is the expansive world building del Toro achieves through collaboration with his talented production team, whose exceptionally immersive, otherworldly set constructions demonstrate complexity, thoughtfulness, and a distinct sense of place.
Each environment that del Toro brings viewers into through cinematographer Dan Laustsen’s lens is literally covered in hundreds of subtle individual details – from oversized batteries to intricately placed scraps of paper and strewn body parts – as this mad scientist strives to bring his creation to life.
Viewers can understand the scale and the weight of each moment through visual design that feels ripped straight from del Toro’s imagination and onto the screen. There’s rich poetry in how costuming, makeup, prosthetics, lighting, cinematography, set dressing, and production design all work in tandem to create an elaborate, intricate piece of craftsmanship.
This somewhat overtly insistent style of moviemaking may feel excessive or grandiose for casual audiences, but fans of fantasy and of del Toro’s overwhelming heart will be captivated by the beauty in the brutality.
As Elizabeth, Mia Goth provides del Toro with the one character altruistically seeking humanity and beauty in broken parts, offering something for Isaac’s Victor to chase and Elordi’s creature to expand his worldview around. She maintains a soft, demure quality that doesn’t distract from the rivalry between creator and creation but rather deepens it.
Any del Toro film is certainly worthy of serious awards consideration on its merits, though crowded fields may push out acting nominations, which is especially disappointing given how Elordi is making a career-best effort as the creature. “Frankenstein” is likely to be a strong contender in numerous craft categories, however, as frontrunner for makeup and production design with its gorgeously Gothic prosthetics and the towering sets that define its world.
It’s unfortunate that a film as visually arresting and technically masterful as “Frankenstein” will largely be seen in the privacy of cinephiles’ homes, since catching the majesty of a del Toro movie on the big screen is the ultimate way to truly appreciate this level of craftsmanship.
While some might find the runtime and pacing a bit languid for their liking, audiences would be well served by spending a couple of hours inside the mind of a master and catching “Frankenstein” by any means necessary.
Leave a Reply