This has got be Oscar Isaac at his best yet, depicting the obsessive scientist hell-bent on proving that he could use science to defeat death itself. He is the son of an acclaimed but rather brutal physician (Charles Dance) and is galvanised further to his chosen path by the sudden death of his mother. His theories disgust civilised society but the wealthy “Harlander” (Christophe Waltz) agrees to fund his experiments to what he hopes will be their logical conclusion. Now secreted away in his remote castle, and quite literally cannibalising spare parts from graveyards and mortuaries alike, he awaits that lightning storm that could just bring Jacob Elordi to life. The problem for the Baron is that he is disappointed with his creation and has no concept that it looks to him very much as a father. Imprisoned in the basement, the “monster” is befriended by “Elizabeth” (Mia Goth) who sympathises with it’s ghastly predicament - but before she can help a great conflagration sets in train a cat and mouse struggle between created and creator that takes them to the depths of the frozen wastes where an exploration ship is trapped in thick pack ice - where our story both starts and concludes. Isaac really does own his megalomaniac obsessive role here and the whole creative effort put into the production design turns this from simple science fiction into a multi-textured love story with it’s fair share of moral dilemmas, hate and loathing too. Elordi? Well he does bring back memories of Christopher Lee in this role, only here is is also rewarded with an extra degree of articulation and towards the end, more of a conscience and even an amount of personality - and he manages to portray his character’s frustrated and confused conflict well, if fairly sparingly. Whilst there are common points of reference with earlier iterations of this story, this enlivens it in a far more characterful and in many ways more justifiable way, and I thought it flew by. Big screen if you can, though Netflix does seem to have limited it’s cinema release quite a bit, because it might lose much of it’s stylish and gothic menace as well as it’s emotionally-charged nuance on a small screen.

guillermo del toro brings frankenstein back to life with so much heart and atmosphere. the world feels dark and gothic, but never without compassion. the performances hit hard, especially in how they show the creature’s loneliness and longing to be understood

What a great movie! Definitely a masterpiece without any flaws. Beautifully executed. No propaganda and nonsense either. Best version of Franskenstein!