It feels like Oscar Isaac delivers an outstanding performance here, portraying a scientist consumed by the desire to conquer death through scientific means. He's the child of a renowned but harsh doctor (Charles Dance), and his mother's unexpected passing strengthens his resolve. His ideas are repulsive to mainstream society, yet a wealthy benefactor, “Harlander” (Christophe Waltz), consents to finance his research with the expectation of a definitive outcome. Now isolated in his secluded castle, he’s quite literally utilizing remains from cemeteries and funeral homes as components, anticipating a lightning storm that could potentially revive Jacob Elordi. The Baron is dissatisfied with what he's produced, however, and fails to realize that his creation views him as a father figure. Confined to the basement, the “monster” finds companionship in "Elizabeth" (Mia Goth), who empathizes with its unfortunate situation—but before she can intervene, a significant fire triggers a pursuit between creator and creation, leading them to a frozen wilderness where an exploration vessel is stuck fast in ice; this is both where the story begins and ends. Isaac truly embodies his obsessive character here, and the production design elevates the film beyond standard science fiction into a layered narrative with moral questions, animosity, and passionate feelings as well. Elordi evokes memories of Christopher Lee in a similar role, but he’s also given more expressiveness and, ultimately, a sense of awareness and personality—and he effectively conveys his character's conflicted state, though his screen time is limited. While the story draws on familiar elements, this version makes it feel more personal and, in many respects, more reasonable, and I found it to be quite engaging. See it in theaters if possible, as Netflix appears to have restricted its cinema run considerably; otherwise, much of its sophisticated, gothic atmosphere and emotionally resonant subtleties might be lost when viewed on a smaller screen.

Source on TMDB