Lisa Frankenstein review: Kathryn Newton gives life to twisted rom-zom-com

Lisa Frankenstein gives Mary Shelley’s classic horror tale a camp 1980s spin, and while as many jokes fail as succeed, when the film is funny, it’s downright hilarious.

Published in 1818, Frankenstein is high-concept sci-fi horror that’s filled with tragedy, and takes itself very seriously. Yet in spite of the solemn nature of the source material, Shelley’s masterpiece has also inspired countless comedies.

Mel Brooks gifted the world Young Frankenstein in the 1970s. The ’80s spawned the less family-friendly Frankenhooker. Frankenweenie was an adorable animated adaptation a dozen years ago. While the last decade gave us Victor Frankenstein and I, Frankenstein, both of which were funny. Just unintentionally.

Now we’ve got a new take on the material that’s set in the 1980s and written by Diablo Cody, who has form combining comedy and horror thanks to cult classic Jennifer’s Body. And while her new movie doesn’t hit those blackly comic heights, the material is nevertheless elevated by two winning central performances.

What is Lisa Frankenstein about?

Kathryn Newton is the star of the show, playing protagonist Lisa Swallows. Who is having a tough time of it when proceedings commence. Lisa recently lost her mother in a violent attack, which in turn has caused trauma that’s made her shy and retiring and partial to wearing lots of black.

Lisa’s father quickly remarried, meaning our gothic girl is now living in a pink house surrounded by a pink picket fence, with a perky step-sister called Taffy (Lisa Soberano, who gets some of the movie’s best lines), and the step-mother from hell (Carla Gugino, giving the broadest performance in a film that’s filled with them).

Lisa doesn’t have any friends, preferring to spend her time at the local cemetery, where she reads poetry and does wax rubbings of the tombstones, which is fine. But she also tends to a young man’s grave, talking to the dead dude, which is less fine, though comes from a good place, with Lisa stating: “I just don’t think anyone should be forgotten.”

And forgotten he isn’t, as one night a storm batters the town, a ball of green lightening hits his grave, and that bolt brings the boy back to life. Kind of.

Meet The Creature

‘The Creature’ isn’t exactly all there. He’s missing a hand, an ear, and another important appendage. Grunts instead of speaking. Cries tears that smell like “a hot toilet at a carnival.” And emits creepy-crawlies from somewhere unspeakable.

Meaning he isn’t exactly the perfect man, in spite of the fact that he’s played by Riverdale heartthrob Cole Sprouse. Lisa takes his messed up Frankenstein face at face value, however, hiding the Creature in her bedroom closet, ET-style, before helping him to replace those missing parts.

Unfortunately, that means a killing spree. But the victims deserve it, by the logic of the film, at least. And the kills serve two purposes – they are funny, and they draw the duo ever closer, adding romance to the comedy and horror, with Lisa and Creature proving that the couple who slay together, stay together.

In spite of all that murder most horrid, you really root for this couple. And that’s largely down to Newton and Sprouse. She has incredible comic timing, finding laughs in the most unexpected places. While he does a lot with a little, emoting much with his eyes, and bringing the slapstick via a fantastic physical performance. They make a truly charming couple.

Too many jokes fall flat

But there are occasions when the script – and the film itself – let them down. Too many jokes fall flat, meaning Lisa Frankenstein sometimes feels like a first draft. So a great gag about The Cure is preceded by a terrible gag about The Cure; the dialogue pinballing between good and bad throughout.

Similarly, there’s a looseness to proceedings when great comedy needs to be tight – the result is scenes that are slow, which go on for too long, or which just feel off. Most notably some cross-cutting between a bizarre phone-call and some business with a vibrator.

Director Zelda Williams is making her feature debut, and there are some nice visual flourishes via a beautiful animated sequence that opens the film, and a stunning dream scene the night that the Creature comes to life.

She’s also nailed the song choices. A musical number revolving around REO Speedwagon’s ‘Can’t Fight This Feeling’ is one of the film’s funniest. While a scene that involves slow-motion, hardcore violence, and Jeffrey Osborne’s ‘On the Wings of Love’ truly brings the house down.

Lisa Frankenstein score: 3/5

Lisa Frankenstein is a movie that wears its influences proudly. Writer Cody and director Williams have chucked some Tim Burton in there. And some David Lynch. And some John Waters. And there are times when it feels like a gothic take on Heathers.

The film has something to say about peer pressure. Though admittedly not a huge amount. And it certainly doesn’t go as hard or as sharp or as fast as the aforementioned Jennifer’s Body, with this a much tamer affair.

And while those pacing issues threaten to spoil the movie, Kathryn Newton and Cole Sprouse rescue proceedings, just as their characters rescue each other. So if you like your romance dark and twisted – with a side of blood and gore – Lisa Frankenstein is a fun ride.

Lisa Frankenstein is in US cinemas from February 9, 2024, while the movie hits UK screens on March 1, 2024.