Living legend Guillermo del Toro creates another magnificent monster flick that is sure to satisfy longtime fans and casual moviegoers alike.

Guillermo del Toro, you magnificent motherfucker.

I’m trying to come at this from a measured approach, but I’m finding it so hard to. This film is a prime example of how to adapt a piece of classic literature for the big screen. And a terrific example of a father-son story that doesn’t feel clichéd. And a magnificent monster story. Hell, it’s not even that. It’s simply one of the best films of the year.

The story of Frankenstein has been adapted countless times, each approach differing in its perspective on the monstrous creature. But Guillermo del Toro truly was one of the best people to take the helm on this project. Everything onscreen is steeped in del Toro’s love of monsters, from his framing of a fractured father-son relationship, to the handcrafted production and costume design, to the immaculate portrayal of the grotesque into something lively and beautiful. If Mary Shelley were still alive, she would gladly take del Toro to wed and bed.

Although I was peeved this film was distributed by Netflix, I couldn’t be happier that a more operatic film is on a more commercial platform. Because everything, and I mean everything, in Frankenstein could be an opera. Kate Hawley’s costume design is sumptuous and grand. Alexandre Desplat’s score is melodramatic to absolute perfection. And Dan Laustsen’s images are a spectacle to behold. Only an auteur like Guillermo del Toro knows the importance of constructing a Gothic atmosphere with a talented team.

But of course, I have to mention Oscar Isaac and Jacob Elordi. Their performances meet the moment. Oscar Isaac’s been one of my favorite actors ever since The Force Awakens, and he continues his winning streak. He plays Victor Frankenstein like a maestro, making him a man so directed by divine purpose and self-belief it borders on madness. Not to mention he can pull off sly moments of comedy incredibly well amidst such a dense and operatic film.

Yet Jacob Elordi is the glue that holds this picture together. While this film can feel overly long and dense at times, Elordi provides the hearth upon which del Toro feeds the soul of the cinemagoer. Through the Creature, you can feel a man’s life evolve in front of your eyes. Elordi encapsulates all of it–the boyish wonder, the rush of acquiring knowledge, and finally, the heavy grief at knowing the world will only respond with violence.

There’s moments of utter barbarity in this film, and moments of surgery that will make you squirm in your seat and forsake any red foods. But what I love is that amidst all the gore, there’s a genuine, beating heart. The father-son themes throughout are universal, and are bound to connect with anyone and everyone. We all seek love and companionship, even–and especially–when we do not receive that love in return. And when we are rejected, when we are screaming, we can be left with an impossible choice. A choice that might require a delicate conversation upon a derelict boat in the middle of the Arctic. But despite how gruesome the story has been portrayed before, Guillermo del Toro has found a new soul for this film for a new generation. I couldn’t be happier to personally witness it.

FURTHER THOUGHTS:

• The prosthetics and hair design on the Creature were marvelous. It doesn’t make him look like anyone or try to mold him, he just looks…like a person.
• Never thought you could achieve a major scientific breakthrough while naked.
• Definitely gonna strive for a French porcelain toilet for a house (if I ever can afford it, and that’s a BIG if.)