Lisa Frankenstein Review: A Violently Delightful Neon Gothic '80s Throwback
- Vibrant ode to the 1980s
- Sumptuous costumes
- Standout performances from Kathryn Newton, Cole Sprouse, and Liza Soberano
- Parental characters lean towards caricature at times
Who amongst us hasn't become emotionally attached to the dead owner of a particularly romantic-looking gravestone? In "Lisa Frankenstein," this year's most zany horror comedy, Kathryn Newton proves herself as a natural successor to Winona Ryder in the niche market of doe-eyed, occasionally homicidal weirdo heroines. Diablo Cody, who won the hearts of audiences as well as an Academy Award for her work as the screenwriter of "Juno," puts together a script that shines with bizarre cleverness, brought to life on the big screen with supreme confidence by first-time director Zelda Williams as a neon gothic throwback to '80s horror comedies. The end result is an off-kilter, surreal, and surprisingly effervescent delight.
Lisa Swallows (Newton) is not having a particularly auspicious senior year. After her mother's murder by a mysterious killer, she's had to face a lot of changes; her father (Joe Chrest) remarried almost immediately, moving the two of them in with her new wicked stepmother Janet (Carla Gugino) and peppy cheerleader stepsister Taffy (Liza Soberano). To cope with her trauma, she does what any teenage goth nerd would do: She spends a lot of time pining away in a nearby bachelors' cemetery, forming what some might consider an unhealthy attachment to one of its quietly slumbering inhabitants. But things take a turn when there's a strange storm one night, sending a green bolt of lightning down to exactly the spot where her dead paramour was interred. We say "was" because he doesn't stay interred there for long: Suddenly gifted with the spark of life (albeit missing a few key body parts), the Creature (Cole Sprouse) turns up at Lisa's home since she's the only person he has any connection to.
It doesn't take long before the initial shock of his appearance wears off, and the Creature endears himself to Lisa. But there's still one hurdle for these two eccentric lovebirds to overcome: The Creature wants to be made whole, and for that to happen, they'll have to find some replacements for his hand, ear, and ... well, other miscellaneous parts. Fresh replacements. But hey, if you're not willing to murder and dismember for your undead boyfriend, do you really even care about him?
The '80s are back
The most immediately compelling aspect of "Lisa Frankenstein" is its unique visual palette. Director Zelda Williams taps into the aesthetics of the '80s with impressive attention to detail, but this is far from just a retro pastiche: It captures the spirit of films like "Beetlejuice," "Heathers," and even lesser-known gems such as "My Boyfriend's Back" and "Better Off Dead." There are so many little touches that ground "Lisa Frankenstein" in a very specific vision of the '80s, from Lisa's dad's shoe phone (if you recall from "Juno," Diablo Cody is a sucker for a novelty phone) to Taffy's malfunctioning tanning bed and Janet's beloved collection of Precious Moments figurines. And the costumes — well, they're perfection. The increasingly theatrical and gothic outfits that Lisa wears to school during her courtship with the Creature deserve to be in a museum.
Kathryn Newton owns every inch of the screen as she brings Lisa to life, a morbid outsider whose tendency to hang out in cemeteries hasn't exactly won her friends. She's an odd little duck with a flair for the dramatic, making her the perfect companion for Cole Sprouse's resurrected early 1800s-era musician. Whereas Newton articulates Lisa's every thought, the role of the Creature is almost entirely silent, which seems like a smart choice on the part of the filmmakers. Not because Sprouse can't be trusted to deliver lines or anything like that, but because the Creature has a much higher likelihood of coming across as incredibly cheesy the more he has to say — especially in the hands of Cody, whose verbosity couldn't help but work against the moody, gothic tone of the character. Instead, Sprouse is given the opportunity to put in an entirely physical performance, and he takes full advantage of every facial expression to endear his sad little Victorian pianist to the audience.
Liza Soberano makes her mark
As well as Kathryn Newton and Cole Sprouse work together in the two lead roles, Liza Soberano as Taffy is the breakout star of "Lisa Frankenstein," bringing genuine empathy to a character who would otherwise be little more than a stereotypical cheerleader. She cares deeply for Lisa and doesn't deserve half of the things she's put through in their ghoulish misadventures. In a film that rejoices in its cheerful malevolence, Soberano is as earnest and guileless as they come.
In a fresh new take on the familiar "Frankenstein" story, "Lisa Frankenstein" transforms the arrogant mad scientist with a God complex into a teenage misfit just looking for someone who understands her. Newton and Sprouse are more than up to the task of finding both the humorous and romantic beats to both of their characters, ably bringing life to the ride-or-die, almost Bonnie and Clyde-esque lovers. "Lisa Frankenstein" may be filled with clever nods to the 1980s golden age of horror comedies, but it's also an energetic, delightfully macabre production that might just be one of the most surprisingly entertaining of 2024.
"Lisa Frankenstein" premieres in theaters on February 9.