4 min readNew DelhiAug 31, 2025 03:00 PM IST
Guillermo del Toro’s long-awaited Frankenstein has finally arrived months after Netflix teased its magical visuals at the Tudum event. The film had its world premiere at the 2025 Venice International Film Festival on August 30. Del Toro’s ultimate passion project ended up getting a monstrous Rotten Tomatoes welcome, but critics are confused and not everyone is happy. For many, its both breathtaking and frustrating at the same time. Stunning to look at, yes, but overloaded with ideas and far from the sky-high expectations built around del Toro’s dream project.
Frankenstein rotten tomatoes scores
While the critics’ score for Frankenstein is bound to change once it premieres for the audiences as well, it currently holds a solid 77% on Rotten Tomatoes. Compared to Guillermo del Toro’s past projects, Pinocchio (96%) and Nightmare Alley (80%), this lands as his fifth-lowest, just above Crimson Peak (72%), Pacific Rim (72%), Mimic (67%), and Blade II (57%). But that only shows the weight his films carry. Even when inspired by Mary Shelley’s 1818 novel, Frankenstein becomes something more in del Toro’s hands. This version stays closer to the source than most past adaptations, yet it carefully shows director’s obsession with the character, his moods, and his perfectionism. With Oscar Isaac leading, it’s safe to call this a bold new take on Shelley’s Gothic horror classic.
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Frankenstein also stars Oscar Isaac, Jacob Elordi, and Mia Goth in key roles. Before landing on Netflix on November 7, the movie will get a limited theatrical release on October 17. This marks Del Toro’s first feature film since 2022 stop-motion project Pinocchio, which also released on Netflix.
How critics are responding
Frankenstein runs two and a half hours, with Oscar Isaac as Victor Frankenstein and Jacob Elordi as his creation, but neither performance won critics over. Viewers were left debating whether to focus on Isaac’s tortured scientist or Elordi’s creature, who looks less like the stitched-up monster from old films and more like a broken soldier. In Guillermo del Toro’s version, the creature cannot die and is trapped in an existential crisis. This references themes of John Milton’s Paradise Lost, which Shelley herself mentioned in the novel. Here, a blind man (David Bradley) pushes the creature to seek wisdom.
David Rooney (The Hollywood Reporter) called it “one of del Toro’s finest,” praising its beauty and artistry.
Martin Tsai (critic’s notebook) noted, “There’s no horror or suspense whatsoever, just magical dismemberments under golden hues and glittering harps on the soundtrack. It’s all kind of perverse, and I’m not sure if Mr. del Toro really meant it that way.”
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John Bleasdale (Time Out) wrote, “Del Toro throws everything on the screen, it’s loud, silly, and sublime, filled with gothic towers, dripping cellars, and snowy landscapes.”
Connor Lightbody (Pop heist) said, “It might be a little dismembered at times but one can’t help but swoon at something as life-affirming as del Toro’s humanistic rendition of Frankenstein.”
Jane Crowther (GamesRadar+) admired the acting and visuals but warned that the slow pace may frustrate viewers.
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Variety’s critic Peter Debruge said it’s “overstuffed and unwieldy”. The movie reportedly cost more than Titanic to make, though Debruge says it doesn’t always look like it. However, Alexandre Desplat’s music is described as rich and grand, giving the movie a majestic feel.
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Meanwhile, Guillermo del Toro’s attention to costumes, sets, and props stands out, even as the cinematography falls short, especially when the film looks as if you’re peering through a peephole. Originally, del Toro planned to split movie in two parts, with one focusing on Victor’s perspective, the other from the Creature’s. Instead, he tried adjusting both in back and forth frame, which, according to critics, weakens the impact when the Creature suddenly reveals how articulate and thoughtful he is.
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Frankenstein is streaming on Netflix.