The Peanut Gallery Reviews Frankenstein
- Sheehan Planas-Arteaga
- Nov 18, 2025
- 5 min read
Guillermo Del Toro's Frankenstein is a haunting, emotional epic that raises the bar on a timeless story.
Frankenstein was released in theaters on 8/30, and is now available on Netflix.
I am not a big monster or horror movie guy. I saw Pet Sematary at an age that is probably way too young to see that movie, and if I were to psychoanalyze myself, that is probably the genesis of me not liking this type of art. I wouldn’t call Guillermo Del Toro’s Frankenstein horror, but it’s in the ballpark; more like a Gothic epic. Still, it probably shouldn’t have been my cup of tea.
When I started hearing the reviews pour in, though, it became tough to avoid giving Frankenstein a try. 100% on Rotten Tomatoes (the Popcorn meter has since dropped to 95%)? Oscar-buzz for Jacob Elordi? Was this re-telling of a re-telling of a re-telling ad infinitum ready to sway my opinion on this genre?
On a night when we didn’t feel like indulging in our current lineup of shows, my wife and I decided to take the plunge. With open hearts and practically no expectations, we fired up Frankenstein on Netflix.
What. A. Movie.
Faithfulness
The movie is faithful to the source material, Mary Shelley’s 1818 epistolary novel of the same name, in its structure. The book’s narrative unfolds through Victor Frankenstein’s (Oscar Isaac) account of his life, along with the monster’s (Jacob Elordi). In the book, these details are revealed through letters from a man named Robert Walton to his sister. Neither are in the film.
Robert Walton’s character effectively becomes Captain Anderson (Lars Mikkelsen, who is Mads Mikkelsen’s brother), the Captain of a Danish naval ship on an Arctic voyage, in Del Toro’s version. Just imagine Anderson regaling everything Victor and monster said to him in writings to his sister. That’s Mary Shelley’s Frankenstein.
Style
I’ve seen Hellboy and Pan’s Labyrinth. That’s the extent of my Guillermo Del Toro viewing history. I knew he was the master of creepy, vibrant visuals, top-of-the-line costumes, and practical effects. That’s about it, though.
I’m not sure if Frankenstein is his magnum opus at this point in his career (I know The Shape of Water won a ton of stuff), but it must be damn near close. I was immediately enthralled with the icy landscapes of the Arctic ocean. The sprawling countrysides of Eastern Europe, dotted with Gothic architecture, gave me more spectacular settings to appreciate. You can tell how much Del Toro is a fan of the type of work he produces.
Performances
Victor Frankenstein is a fascinating character in his unrivaled brilliance and work ethic, coupled with his willingness to break the rules and, most importantly, his disdain for his own creation. Oscar Isaac does a good job conveying the flaws the character just can’t shake, not until it’s too late. Charles Dance (Game of Thrones) plays his step-father in his usual stern, cold, stately manner. That guy has really found his groove playing that specific type of character. He’s like a British, late-career Jon Voight. If you need an intimidating, in-charge white guy who’s tough on his kids, students, soldiers, players, etc., Charles Dance is your man.
Christoph Waltz is Christoph Waltz. No one conveys serious topics with as much whimsy as him. He’s the money man behind Frankenstein’s exploits. Mia Goth also shines as the sister-in-law of Frankenstein and one of the few characters who sees the humanity in the monster. Their relationship is similar to Kim (Winona Ryder) and Edward’s (Johnny Depp) in Edward Scissorhands.
All of these performances pale when compared to that of one man, and the most important man, to boot: Jacob Elordi as Frankenstein’s monster. Unreal. His evolution from a simple-minded abomination to a fully-formed human being is what puts the film over the top for me. You’re scared of him, you feel for him, you cry for him, you root for him, and you’re happy for him. The second half of Frankenstein is an emotional rollercoaster, with Elordi at the controls. He deserves all the nominations and wins he receives in the upcoming award season.
Flaws?
Damn. Not many I can point out. I happened to be entranced with the setting and story from the beginning, but I can see how people might have thought it a bit slow. Would it have served the audience to learn something about the creature pre-Frankenstein? Did we really need Victor’s life story? I didn’t mind, but I understand the critiques.
Nerd Alert!
A little thing I noticed because of how incredibly smart and cultured I am that might've gone over some viewers' heads: the Ozymandias scene. As the escaped creature is learning to read with the blind old man (David Bradley), at one point he practices by reading Percy Bysshe Shelley's poem, Ozymandias. The significance of him reading this poem is two-fold.
First, it's an apt analogy for Victor Frankenstein's rise and fall. The poem centers on a traveler who comes across the remains of a statue of Ozymandias, the Egyptian pharaoh who reigned from 1279 to 1212 BC. The base of the statue features the words "I am Ozymandias, King of Kings; Look on my Works, ye Mighty, and Despair!" Despite the former glory of the statue and the arrogance of the inscription, the statue and the land surrounding it are in ruins. The poem reveals the finite nature of things, even kings and their kingdoms. Victor Frankenstein, despite fulfilling his lifelong quest (more like an obsession) of bringing a man back to life, effectively loses everything.
Prometheus, the figure from Greek mythology who stole fire from the gods and gave it to humanity, only to be punished for an eternity as a result, is the more popular analogy for Victor Frankenstein's scientific career. The full title of Mary Shelley's book, after all, is Frankenstein; or, The Modern Prometheus. But Ozymandias is a good comparison as well.
The other aspect of this poem worth noting is that Percy Bysshe Shelley was Mary Shelley's husband. The story goes that, in 1816, Percy, Mary, Lord Byron, and John Polidori, all writers, staged a competition among themselves; who could write the best horror story. And thus, Frankenstein, was born. Iron sharpens iron, as they say.
Must-See
Frankenstein’s limited theatrical run ended this week. I saw it on Netflix, but I think I would’ve enjoyed it even more in a theater. If you have surround sound, fire it up. Fire everything up and buckle up for two-and-a-half-hours of haunting, colorful, emotional, action-packed, sad, redeeming cinema. I absolutely loved Guillermo Del Toro’s Frankenstein.
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