Guillermo del Toro’s Frankenstein leaves critics confused despite strong Rotten tomatoes score, director’s fifth-lowest yet

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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.

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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