Dr. Victor Frankenstein (Oscar Isaac) gives life to a creature (Jacob Elordi) in his experimentations to cure “death”, but his treatment of his own creation will lead to both of their downfalls. 

The latest adaptation of Mary Shelley’s novel, released in 1818, is from writer/director Guillermo del Toro, in what appears to be a perfect match given his gothic sensibilities and wonderful previous work with all manner of monsters. 

The film is split into three parts. It begins with a prelude where we find Victor and his monster attempting to end each other’s existence in the North Pole. It is here that a Danish sea captain, whose vessel is trapped in the ice, rescues Victor and begins to hear his tale. 

Victor’s story explains how the death of his mother spurs him on to do what his famous doctor father (Charles Dance) is unable to do. Cure death. Financed by an arms dealer, Henrich Harlander (Christoph Waltz), Victor works tirelessly to create life from death. Although he does find himself distracted somewhat by his younger brother’s fiancée, Elizabeth (Mia Goth). Yet when he achieves his task, he finds himself taking on the worst parental traits that his father inflicted on him, spurning his own creation. 

The creature’s story explains that the only human to ever be kind to him is a blind man unable to see his frightening visage and the aforementioned Elizabeth. Both able to see inside of him rather than what is on the surface.

Wrapped up inside these stories are two contrasting and fascinating performances and some occasional flashes of the sort of monsters you expect from del Toro. 

Oscar Isaac plays Frankenstein with all the arrogance of a man convinced of his own greatness. Constantly convinced that he is better than God. It is a lot of fun to witness, and it pays off when initially Elizabeth and later, his own creation, make him realise that this is folly. 

It is Jacob Elordi, however, who steals the show as the creature. The film is nominated for nine Academy Awards, and one of those is for his supporting actor role. Using his size to tower over those around him and give a sense of power, it is actually the childlike way that his character explores the world around him that makes him so believable. 

The make-up and effects used to make the creature otherworldly are impressive, but it is the various dissections and experiments conducted by Victor that give the film a more horror element as well. 

The film’s flaws lie in its length and occasionally pedestrian and formal march to its finale. Running at 149 minutes and telling a story that many will be familiar with, there is a need to instil something as electric as the power source used to create the monster. But at times, it feels as cumbersome as some of the previous versions of this creature. 

The result is occasionally a joy to watch but still somewhat falls short of expectations. Del Toro has delivered better gothic tales in the likes of Crimson Peak and Nightmare Alley, and more interesting insights into monsters with Hellboy and The Shape of Water. Whilst his masterpiece Pan’s Labyrinth sits above them all. 

There are flashes of genius and plenty to enjoy, but it never quite catches fire.