Lisa Frankenstein Review

Lisa Frankenstein has all the makings of a cult classic: bold neon aesthetics, sharp gallows humor, and a gleefully unhinged performance by Kathryn Newton. Directed by Zelda Williams in her feature debut and written by Diablo Cody (Juno, Jennifer’s Body), the film is a genre-bending blend of horror, comedy, and romance. While it succeeds in crafting a quirky and darkly comedic experience, uneven pacing and a lack of narrative depth prevent it from reaching its full potential.

Set in 1989, the story follows Lisa Swallows (Kathryn Newton), an anxiety-ridden goth teenager who spends her days avoiding her toxic stepmother (Carla Gugino) and her well-meaning but overly peppy stepsister Taffy (Liza Soberano). Lisa finds solace in a cemetery, where she daydreams about the occupant of a Victorian-era grave. A freak lightning storm brings the corpse (Cole Sprouse) back to life, setting off a series of increasingly morbid and comedic events. As Lisa’s relationship with her undead beau deepens, she takes on the role of a macabre matchmaker, hunting down human appendages to complete his resurrection — no matter the cost.

The film thrives on its self-aware absurdity and 1980s nostalgia. From its pastel-pink suburban homes to its Madonna-inspired fashion, Lisa Frankenstein fully embraces the decade’s over-the-top aesthetic. This dedication to style is complemented by its campy tone, evoking comparisons to Heathers and early Tim Burton films like Beetlejuice and Edward Scissorhands. The use of classic monster movie tropes, such as reanimation via malfunctioning tanning beds, adds an extra layer of charm.

Newton and Sprouse deliver standout performances that elevate the material. Newton balances Lisa’s awkward vulnerability with her escalating madness, keeping the character sympathetic even as she embarks on a killing spree. Sprouse, meanwhile, shines as the monosyllabic yet expressive Creature. His physical comedy and heartfelt grunts make him a surprisingly endearing romantic lead, even as he lumbers through the film’s more grotesque moments. Together, their chemistry sells the bizarre premise, turning a morbidly strange love story into the film’s emotional core.

The humor in Lisa Frankenstein is at its sharpest when it leans into its darkness. Cody’s script deftly balances outrageous scenarios with sly commentary on societal norms and the pressures of adolescence. The film’s best moments are its most twisted, such as Lisa’s delight in her macabre “projects” or the Creature’s unintentionally hilarious struggles to adapt to the modern world. It’s a bold choice to center much of the comedy around murder and dismemberment, but these moments are executed with enough wit and flair to land with morbid amusement.

However, Lisa Frankenstein stumbles in its pacing and structure. The opening act feels overly drawn out, spending too much time setting up Lisa’s world before the real fun begins. Conversely, the third act rushes to its conclusion, leaving little room to explore the fallout of Lisa and the Creature’s actions. This uneven pacing creates a sense of imbalance, with a strong middle section bookended by a sluggish start and an unsatisfying ending. The film’s tendency to prioritize humor and aesthetic over narrative depth also results in missed opportunities to flesh out its characters and themes. For example, Lisa’s strained relationship with her stepmother and her quest for self-acceptance are touched upon but never fully developed.

Despite its flaws, Lisa Frankenstein is undeniably entertaining. Its commitment to its campy tone, coupled with memorable performances and inventive visuals, makes it a refreshingly unconventional entry in the teen horror-comedy genre. While it may not achieve the timeless appeal of its influences, it has enough personality and charm to earn a dedicated following. For fans of quirky, offbeat cinema, Lisa Frankenstein is a welcome return to the kind of darkly comedic storytelling that feels increasingly rare in today’s landscape.

In the end, Lisa Frankenstein is a love letter to oddball misfits, both on screen and in the audience. It’s a movie that wears its eccentricities proudly, even if its seams occasionally show. If you’re looking for a Valentine’s Day movie with heart, humor, and a touch of the grotesque, Lisa Frankenstein might just be your kind of monster.