Frankenstein (2025) | Film Review

Guillermo del Toro, the visionary auteur behind Cronos (1992), Pan's Labyrinth (2006) and The Shape of Water (2017), brings Mary Shelley's 1818 gothic novel back to life. Piecing the film together with his memorable trademarks and creative dark fairytale flair.

From start to finish - approximately 2 hours, 30 minutes - my eyes were glued to the screen, after almost two decades of waiting for Del Toro to have the opportunity to embark on his 'Miltonian tragedy' (akin to John Milton's thematic works). As a longstanding fan of the book, the multiple adaptations - from Whale's (1931), Fisher (1957), to Warhol's (1973) and Branagh's (1994) - my excitement and expectations were at their peak.

Del Toro is; without question, one of the modern great filmmakers that can combine each element of production to effectively build new and complex worlds with each new release. Frankenstein; or, the Modern Prometheus is no different. From the excellent set and costume design, to the expert use of colour, Del Toro's interpretation excels at reinventing the longstanding and well-known 'wheel'.

Although fidelity is a tired subject, it is appropriate to say, Del Toro's adaptation is a close showcase of the original novel, but does veer away with certain creative liberties - in my opinion, excluding mini-series / TV movies, Terror of Frankenstein (1977, Floyd) and Mary Shelley's Frankenstein (1994), hold top billing for fidelity, despite the latter also taking considerable creative liberties.

It is evident that each team associated with the production, worked collaboratively to build a timeless gothic beauty in the sets and costume. With Tamara Deverell and Kate Hawley's ability to physically manifest and improve Del Toro's instructive designs, each character and location design add to the conveyance of emotion in every scene. Wonderfully lit, with complimentary colours, casting singular lighting e.g. from one source, and framed by long-time collaborator and picture-perfect cinematographer, Dan Laustsen, every second of screen time is an utter joy to watch.

Once again, we're treated to a wonderful match of practical and blue screen effects that keep the immersion, with a combination of sets and - what I believe to be - miniatures. The cost to build sets, such as the artic vessel, Horisont (Horizon), as well as interiors, such as the laboratory, underground chamber and Victor's many abodes, could have been considerate, but certainly worth seeing in the end result.

Combining the visual aesthetics, akin to those in Del Toro's Crimson Peak (2015), with the excellent performances of Oscar Isaac, Christoph Waltz and Jacob Elordi (as the Creature), I became immersed into Mary Shelley's story once more. Isaac delivers a complex, sympathetic Victor Frankenstein - not dissimilar to Kenneth Branagh's interpretation - gradually becoming closer to that of Peter Cushing's colder, more narcissistic Baron as his Oedipus / God-complex grows.

It certainly portrays an interesting exploration of fatherhood / control, from Leopald (Charles Dance) & Victor Frankenstein - as Leopald begins to shape Victor's character and growing disappointment with his inadequacies - to Victor bestowing the same resentment to his Creation. Elordi's performance as the neglected and unloved (by a prodigal father), is majestically macabre, using a range of purposeful, flowing movements that could only be described as butoh-esque. Something different than the blockier movement seen by Karloff, Lee and De Niro.

Frankenstein (2025) | Film Review

An aside, there was a moment that I believe to be a direct reference to Fisher's Curse of Frankenstein (1957), where the Creature is shot in the face, causing him to hold his eye with pulsating blood seeping through his fingers.

The feature is wonderfully scored by Alexandre Desplat. The soundtrack helps to normalise grotesque imagery and also appears to remain scarce, affording scenes to naturally flow at pace. Needless to say, the album is now on my Spotify saved list.

Guillermo del Toro's Frankenstein is a slow, but purposefully paced journey. Treading the story, known for just over two centuries and adapted countless times, that explores one man's desire to create and disavow life's greatest obstacle - death. Del Toro's style and equally creative collaborators, deliver a wonderfully macabre experience with gothic mystique and undeniable beauty. An experience I will continue to revisit, time and time again.

P.S After writing the review, I discovered the 45 minute documentary, Frankenstein: the Anatomy Lesson (2025) that delves into the thought processes and behind-the-scenes creative for Del Toro's Frankenstein. I'm ecstatic to see a few of my original theories e.g. collaborative working with departments, butoh influence and use of miniatures, are correct! I highly recommend watching the documentary after the feature as a companion piece, savouring more time in Del Toro's extraordinary world.

Frankenstein is available to stream on Netflix now.