Frankenstein-2025
Director Guillermo del Toro
Starring Oscar Isaac, Jacob Elordi
Scott’s Review #1,510
Reviewed January 15, 2026
Grade: A
Guillermo del Toro, known for his astounding production and art design in his films, hits a home run with a remake of Frankenstein (2025) based on Mary Shelley’s 1818 novel, unmasking a beautifully crafted film.
He pulls out all the stops to achieve an exquisite gothic look that is hard not to be mesmerized by. It reminds me of the HBO series Penny Dreadful (2014-2016) in both its subject matter and its visual style.
I worried that the sets and designs would usurp the story, but especially in the final act, the film becomes very character-driven, especially the Creature, played by Jacob Elordi.
It is easy to garner sympathy for his character as the story progresses and he goes from bald and alien-like to disheveled and wild-looking.
The film is divided into three chapters: Prelude, Victor’s Tale, and The Creature’s Tale, so the pace is structured with shifting perspectives. This is a wise move.
Victor Frankenstein (Oscar Isaac) is a brilliant but egotistical scientist who brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.
The inclusion of Victor’s brother, William (Felix Kammerer), Elizabeth (Mia Goth), and the Blind Man (David Bradley) adds interesting and potent supporting characters who help reveal the intentions of the more prominent characters.
Mesmerizing are the sequences in the dark, evening settings, and especially within the grandiose walls of the estate where William and Elizabeth are to be married.
The cool bluish hues amongst the glowing, burning candlelight provide a warm yet gruesome tone.
As Elizabeth, clad in her pale white wedding dress, is carried down the bold staircase by the creature, her abdomen is caked in scarlet red blood, amid falling flower petals, another example of the powerful visuals.
In contrast, the daytime sequences usually take place amid a blustery snowstorm or in frigid, barren wastelands, with a very white color palette. Del Toro doesn’t even need to use wind sounds to portray the frigid landscape perfectly.
Lastly, the costumes are award-worthy. From the seventeenth-century wedding outfits the attendees wear to the filthy rags the Creature dons, all are well defined by societal class.
The kindly Blind Man wears modest attire and lives in a barren forest area.
While both are superior in excellence and storytelling, 2025’s Frankenstein is vastly different from the 1931 version directed by James Whale and starring legendary horror actor Boris Karloff.
Made nearly one hundred (gasp!) years apart, they are dissimilar in ways, and the former is more faithful to Shelley’s novel.
Elordi deserves kudos for infusing the Creature with humanity and sympathy, a character that many perceive as nothing more than a monster. His kindness and compassion mask the torture and pain he feels, wishing for death at nearly every turn.
The hulking actor is a perfect fit from a physical perspective, lumbering along the terrain and brooding with pain. His tentative relationship with Elizabeth is touching to see, and the future possibilities are endless, were it not for tragedy.
Isaac and Goth are also impressive. As the true film villain, Isaac’s Frankenstein is also tortured but turns to lies and deception to mask his pain. Goth, parlaying from indie horror into mainstream cinema, is one to watch as she chooses her next roles.
The lovely male relationship between the creature and the blind man is a true testament to kindness and what friendship is all about.
With his legendary visual touch, Guillermo Del Toro resurrects Frankenstein (2025) with a magnificent, nearly operatic offering that’s gloriously gothic and heartbreaking, with exceptional performances and visual mastery.
In this case, his story matches his visuals.
Oscar Nominations: 3 wins-Best Picture, Best Supporting Actor-Jacob Elordi, Best Adapted Screenplay, Best Cinematography, Best Costume Design (won), Best Makeup & Hairstyling (won), Best Original Score, Best Production Design (won), Best Sound
