Narratives inspired by Dracula or Frankenstein consistently kindle a special intrigue within me, regardless of the myriad film adaptations that have graced the screen. In the instance of Lisa Frankenstein, a blend of factors emerges: a youthful main cast teeming with potential, a coming-of-age narrative infused with a feminine perspective, a distinctly comedic ambiance that maintains a lighthearted touch, a feature directorial debut from Zelda Williams, and the screenwriting skills of Diablo Cody, celebrated for her contributions to titles such as Jennifer’s Body and Juno. While the ingredients for success are apparent, the lingering question remains: have expectations been met?

Lisa Frankenstein delves into the story of Lisa (Kathryn Newton), a misunderstood teenager grappling with typical high-school social dynamics and a childhood shadowed by an unforgettable tragedy. Following a series of amusingly horrific circumstances, the protagonist resurrects a corpse (Cole Sprouse), embarking on a journey of self-(re)discovery amidst a lot of love, blood, happiness, and death. All wrapped in a campy atmosphere established by Williams from the beginning.

Lisa Frankenstein Critique

Also Read: Out of Darkness Review: A Stone Age Horror Filled With Dread

Undoubtedly, the cast stands as the highlight of a movie that requires unwavering commitment and dedication to their intentionally over-the-top roles. Lisa Frankenstein is a horror-comedy in all its splendor, embracing all the characteristics arising from the fusion of these genres. The horror elements manifest more prominently in the technical aspects, such as the appalling, gruesome makeup – particularly noticeable on the corpse and in gross deaths – the dark costumes, and the ‘Halloweenesque’ production design. However, it’s the performances of Newton (Freaky), Sprouse (Moonshot), and Liza Soberano (Alone/Together) – who portrays Taffy, Lisa’s sister – that significantly contribute to the film’s success.

Soberano’s supporting role may be overlooked by some viewers, but the actress’ ability to oscillate between extremes is, at the very least, remarkable. Much like Newton – who finally convinces me of her true talent – both possess the ideal emotional range and expressiveness for a campy flick like Lisa Frankenstein. Given more screen time and the narrative’s demands, Newton seizes opportunities to showcase her creativity and freedom in exploring different approaches with her character.

Sprouse delivers one of the most compelling performances of his career. A silent role makes the actor rely solely on his facial and bodily expressions, along with mere grunts. Like the rest of the cast, Sprouse comprehends the assignment effortlessly, fully immersing himself in a character that he won’t forget so soon. A final, yet noteworthy mention for Carla Gugino (The Haunting of Hill House), who steals all the spotlights in her fleeting yet memorable on-screen moments.

Regrettably, Cody’s screenplay needed the same level of commitment to the light, playful environment established. Lisa Frankenstein has some fun moments, but these are scattered, lacking the structural and tonal consistency for a genuine impact on the audience. It almost seems that every ten minutes, Williams and Cody become apprehensive about continuing with the initial tone, alternating it with more serious scenes that don’t really integrate into the narrative, particularly as these dramatic endeavors remain superficially explored.

Overall, there’s a lack of connection to the characters as their generic arcs lead to a prevailing sense of indifference after an unexpectedly predictable, formulaic story. The absence of a clear thematic central line regarding this journey of self-discovery leaves Lisa Frankenstein stuck in a limbo of uncertainty that ends in disappointment. The skimpy character development, particularly of the protagonist, along with a seemingly futile decision in the third act, leaves a strange emotional void at the end. Lisa Frankenstein isn’t at all a “bad film.” However, it’s a movie that’s unlikely to stay in the viewers’ memory, mainly for those seeking ‘something more’…

In Conclusion

Lisa Frankenstein marks my first disappointment of the year. The youthful cast wholeheartedly embraces their campy roles, infusing deliberately exaggerated emotions and expressiveness for an evening of light entertainment with the promised levels of blood and ‘macabreness’. Sadly, the screenplay lacks the same commitment to the absurd, resulting in tonal and thematic inconsistencies throughout a narrative less imaginative than anticipated. The ensuing indifference and uncertainty regarding the film’s point and message leave a bittersweet taste…

5/10