Frankenstein’s monster has become one of the most iconic horror characters in cinema history, despite the fact that the original novel is not a horror story and Frankenstein is not truly a monster. Somehow, in popular culture, The Creature has been transformed into a green-skinned, bolt-headed, slow-walking brute who terrorizes townspeople. In reality, he’s little more than a child — and “Frankenstein” (2025) is here to set the record straight. In the most recent adaptation of Mary Shelley’s 1818 gothic novel, Guillermo del Toro delivers a stunning viewing experience which maintains the thematic roots of its source material while carving out an identity of its own.

It should be stated early that — aside from The Creature’s design and a few scenes here or there — the film is not a novel-accurate recreation in the slightest. del Toro takes many liberties story-wise but never goes so far as to betray his source material and makes sure to deliver all the thematic beats that make it a classic: the hubris of man, the burden of creation and life, questions of nature vs. nurture, and the dangers of scientific ambition. The film also echoes some of Shelley’s literary inspirations by making direct reference to the story of “Paradise Lost” and evoking the Book of Genesis throughout.

In order to bring del Toro’s script to life, the cast delivers all-around fantastic performances. Oscar Isaac is dynamic as Victor Frankenstein, managing to depict the mad scientist without slipping into a campy or over-the-top delivery. Christoph Waltz fits in nicely as Victor’s financier, playing a character in his typical style. The standout performance of the film is by far Jacob Elordi, who is unrecognizable as The Creature. Much of his screentime is spent without dialogue, allowing him to showcase his physical acting abilities which manage to turn an eight-foot-tall monster into nothing more than a wounded creature. When he does begin to speak, he manages to bring to life the intellectual curiosity and loneliness that colors the character in the novel.

The Creature is also one of the most accurate looking depictions ever put to film, a feat which required Elordi to undergo a 10-hour makeup and hair transformation before shooting. Very similar to Shelley’s original description, Elordi’s handsomeness and Adam-esque physique still shine through despite being covered in gray skin and grotesque scarring. However, the production accomplishments don’t stop there. The movie is full of grand sets which make it feel otherworldly — most notably the castle in which The Creature is created and Victor’s lavish childhood home — which do enough to warrant a trip to the theater for a proper viewing experience on the big screen.

Color is also used to a great effect throughout the film. Small details like Victor’s red gloves, red neckerchief, and the red marble walls in his home begin appearing after the death of his mother, meant to symbolize his growing rage. The most effective use of color is in the closing act when a green hue from the arctic moon paints The Creature green in his most monster-like moment, giving a nod to the characteristic green skin we’ve all come to associate with the icon.

Aside from deviations from the source material and a few heavy handed moments — e.g., Victor’s brother saying “You are the monster!” — complaints for this film should be few and far between. The movie delivers a fresh take on a true classic, aided by performances that are sure to receive plenty of buzz come awards season, and will likely go down as one of del Toro’s finest works.