Guillermo del Toro’s Frankenstein (Criterion Collection)

Mary Shelley’s 1818 novel is one of the most iconic gothic novels of all time, and who better to tackle the tale of The Modern Prometheus, as the book is subtitled, than director Guillermo del Toro. Across his filmography including Pan’s Labyrinth and Nightmare Alley, del Toro has long-established himself as a pioneer in dark fantasy films, carrying a distinctive style that lends itself well to adapting this classic. Describing Frankenstein as a bucket-list project, the film is clearly a labour of love, and the passion and hard work that went into building its immersive world are evident throughout.

Similar to Dracula, another favourite of Hollywood to adapt, Frankenstein’s narrative framing is often lost in translation to the big screen. The novel begins with a series of letters from Captain Robert Walton to his sister, as he then recounts what Victor Frankenstein told him of his life and his creation. Del Toro creates a ‘he said, she said’ narrative where Victor recounts his tale in part one, then the Creature in part two, and finally a third part titled ‘Fathers & Sons’, which sees the confrontation and reconciliation between them. The theme of fathers and sons runs throughout the film, from Victor’s strained relationship with his father, the renowned physician Baron Leopold, to the Baron’s softer relationship with second son William, to Victor finally embracing the Creature as his son at the end of the film.

Both Gothic and otherworldy, the film is a visual feast for the eyes. Del Toro builds his world through a seamless synthesis of masterly crafted sets, completed with CGI – such as the imposing, abandoned water tower that becomes Victor’s laboratory – carefully curated colour palettes and eye-catching costuming. Infused with pervasive Biblical imagery, particularly in the extended director’s cut, each frame feels like a painting – a doorway into an alternate reality where Victor’s defiance of nature feels plausible. The film’s attention to visual detail carries all the way to its Criterion Collection cover. Illustrated by Denver Balbaboco, the piece feels straight out of the Romantic era – heavy on dark shadows and glowing light, establishing that this isn’t just another monster flick, but a tragedy.

Oscar Isaac takes on the titular role of Victor Frankenstein, capturing an obsessively ambitious scientist driven by grief. Haunted by his mother’s death, Victor seeks to conquer mortality itself and breathe life into the void. Isaac delivers a powerhouse performance, seamlessly navigating Victor’s arc from a megalomaniacal vision to the haunting weight of a creator crippled by remorse.

Cast just nine weeks before filming began after Andrew Garfield dropped out, Jacob Elordi absolutely shines in his portrayal of the Creature. With a career start in The Kissing Booth, Elordi returns to Netflix having carved out a series of more serious roles as an actor. Though the film takes the whitewashed route of presenting the Creature solely as a sympathetic and innocent being trying to make sense of his existence and place in the world, Elordi delivers a fantastic physical performance, helped by the imposingness of his six-foot five height.

Similar to her dual roles in Ti West’s X films, Mia Goth takes on roles of both Elizabeth Harlander, Victor’s brother’s blushing bride-to-be, and Baroness Claire Frankenstein, Victor’s mother who died giving birth to his younger brother William. The character of Elizabeth shifts between sister, cousin, fellow scientist and wife (not necessarily at the same time) between adaptations, and del Toro made the choice for Goth’s Elizabeth to be a forbidden love for Victor, who is infatuated with her even though she is engaged to and devoted to his brother. Described by del Toro as one of the most “real” actors he has worked with, Goth’s performance adds a softer touch to contrast the erratic nature of Isaac’s Frankenstein.

Rounding out the wider cast, Charles Dance returns to the role of Victor Frankenstein’s father, having played the father to James McAvoy’s Victor in the 2015 adaptation. Felix Kammerer plays William Frankenstein, a role completely fleshed out for the film and replacing Victor’s friend Henry Clervall. Christoph Walz plays Heinrich Harlander, Elizabeth’s uncle who invests in Frankenstein’s experiments but hides an ulterior motive.

Turning to the writing, much of the dialogue is original but written in a similar vein to Mary Shelley’s, according to the behind-the-scenes content. However, the film takes a black and white approach towards the morality and complexity of Victor versus the Creature, painting Victor as callous and arrogant and the Creature as innocent and somewhat child-like. The film repeatedly hammers the audience over the head with the idea that Victor, rather than his creation, is the true monster, losing any nuance and complexity of the characters. That being said, the oversimplification of morality makes sense as del Toro turns the story into a dark and cautionary fairy tale.

Originally released in select cinemas on October 17, 2025, and on Netflix on November 7, Frankenstein has finally gotten a physical release with the Criterion Collection. Alongside the theatrical cut of the film, audiences can enjoy Frankenstein: The Reborn Cut, a 158-minute extended director’s cut of the film – an additional eight minutes. Further bonuses to finally having a physical version of the film are, of course, the behind-the scenes special features. This includes del Toro’s audio commentary of The Reborn Cut, an hour-long documentary exploring the making of the film, The Parlour which is a series of conversations between the cast and crew, Q&As moderated by Martin Scorcese and musician Patti Smith, an interview with the film’s composer Alexandre Desplat and an essay by scholar and author Christopher Frayling.

If watching the two-and-a-half-hour film hasn’t already convinced you of the passion and dedication poured into the film, the behind-the-scenes offerings will. Insights into the process of costuming prove that that the film’s win at the Academy Awards for Best Costume Design and Best Makeup and Hairstyling were incredibly well-deserved. Each character is associated with a certain colour palette by the costuming department, led by costume designer Kate Hawley. Red was reserved for Victor and his mother, whereas greens were associated with Heinrich, Felix and Elizabeth. The dresses designed for the latter particularly stand out, with insect-like patterns and ballooning skirts. Similarly, the production department scooped the Oscar for Best Production Design, no doubt due to their practical sets including the 130-foot, full-scale ship that opens and closes the film.

The Criterion Collection’s Frankenstein is out now, costing £44.99 for the 4K Ultra HD Blu-ray, £34.99 for Blu-ray, or £24.99 for DVD. It’s available through Amazon and HMV, as well as direct from the Criterion Collection.