Guillermo Del Toro’s **FRANKENSTEIN** is an exceptional achievement from one of cinema’s leading directors—a passion project realized as a gothic triumph that honors its literary roots while presenting viewers with a lavish, Victorian-era film filled with both horror and intrigue. The ensemble cast, including Oscar Isaac as Victor Frankenstein, Jacob Elordi in the role of The Creature, Christoph Waltz portraying Henrich Harlander, Lars Mikkelsen as Captain Anderson, Felix Kammerer as William Frankenstein, and Mia Goth as Elizabeth Harlander, all deliver strong performances that hold their own against the film’s impressive production design, striking visuals, detailed makeup artistry, stunning cinematography, and remarkable creature effects—elements which could have easily overshadowed a less capable group of actors. Del Toro's adaptation closely follows Mary Shelley's 1818 novel ***Frankenstein; or, the Modern Prometheus***, as demonstrated by the depiction of young Victor Frankenstein’s privileged upbringing under an emotionally distant father and the tragic loss of his mother. (There's a deliberate choice in casting from Del Toro that is remarkably precise, revealing psychological depths to Isaac’s performance as Frankenstein—a detail likely to inspire extensive analysis through Freudian and Jungian perspectives, adding another dimension to this already complex story). While the narrative itself is well-known, Del Toro’s signature style of dark storytelling shines with brilliance and gothic dread throughout, making the film feel remarkably relevant to the questions it raises more than two centuries after Shelley's novel explored themes of existence, awareness, and agreement. Del Toro’s influence on the Frankenstein mythos here may be so substantial that Maggie Gyllenhaal’s upcoming **THE BRIDE** (2026), starring Christian Bale and Jessie Buckley, could face an uphill battle even before its release. It's disappointing that many viewers, including myself, had to experience this film on a smaller screen, given its grand scale and epic nature. It is visually stunning—and even more rewarding to engage with, thanks to Del Toro’s attention to detail and the performances of Isaac and Elordi. Is it possible for this film to contend for Best Picture? I certainly wouldn't rule out Del Toro.

Source on TMDB