Del Toro Returns With Frankenstein, Visual Triumph and Flaws

Guillermo del Toro’s latest film adaptation of Frankenstein arrives with high production values and a divided critical response, and should be on the radar for McKinley County residents deciding whether to see it in theaters or wait for streaming. The film runs 152 minutes, scored 2.5 out of 4 in a review by Gleen Kay, and after its theatrical run it will be available to stream on Netflix beginning Friday, Nov. 7. Those details shape how local viewers and area theaters may engage with the picture over the coming weeks.

At its core the picture is a technical showcase. Frequent del Toro collaborator Dan Lausten serves as cinematographer, and the film is described as consistently dazzling with nearly every frame full of detail and inventive camera angles. Set pieces range from a ship stuck in Arctic ice to an ornate university medical theater and a Gothic estate reminiscent of scenes from Crimson Peak. For local moviegoers who value cinematic craft, the visuals will be the principal draw.

The narrative divides into two main sections. In the first a wounded Baron Victor Frankenstein, played by Oscar Isaac, recounts an origin story that includes family trauma, a benefactor played by Christoph Waltz, and experiments aimed at reanimating the dead. In the second section the Creature, portrayed by Jacob Elordi, offers a counterpoint of events and ultimately seeks vengeance. Olivia Goth plays dual roles as Baroness Claire Frankenstein and Lady Elizabeth Harlander, and Lars Mikkelsen appears as Captain Anderson, whose ship discovers the Creature amid the ice.

The review highlights several dramatic shortcomings. Frankenstein is portrayed as increasingly unsympathetic and at one point commits sadistic acts that strip the character of redeeming notes that audiences might expect. The film’s themes are delivered in a heavy handed way, with characters bluntly telling Frankenstein that he is, "…the real monster," on numerous occasions. The Creature is presented as the more relatable figure, while certain relationship choices such as Lady Elizabeth’s unexplained physical attraction to the undead are described as unconvincing.

For McKinley County viewers the practical implications are clear. Fans of del Toro and serious genre work will likely find the film rewarding for its craft and ambitious scope. Casual viewers who prefer tighter pacing may struggle with the 152 minute running time and some of the narrative choices. The Netflix streaming date on Nov. 7 also offers a local viewing option without traveling to a theater, which may affect attendance patterns at area cinemas during the film’s theatrical window.

Overall, the adaptation is not a misfire, but it sits uneasily among del Toro’s most acclaimed titles. It is a visually sumptuous experience that asks audiences to accept certain dramatic contortions, and local viewers will have to decide whether the film’s aesthetic achievements outweigh its storytelling drawbacks.