Mary Shelley’s *Frankenstein*, a tale of a scientist who reanimates a dead man and then shuns the resulting lifeform, has served as a foundational work for both horror and science fiction genres. The novel has been adapted into various forms, such as the black-and-white homage in Mel Brooks’ *Young Frankenstein* (1974), a comedic tribute to the Boris Karloff classic featuring a cast of eccentric characters. More recently, in the animated *Hotel Transylvania* series, Frankenstein is hilariously voiced by Kevin James, taking on the role of Uncle Frank to Selena Gomez’s Mavis, alongside Adam Sandler’s Count Dracula.
Against this rich backdrop of adaptations comes *Lisa Frankenstein*, penned by Diablo Cody. Cody, who also wrote *Jennifer’s Body*, proposes that *Lisa Frankenstein* exists within the same literary universe. The film opens with an impulsive decision that seems promising, featuring a black-and-white title sequence. Set in the year 1989, we follow Lisa (Kathryn Newton), an awkward and lonely teenager. Lisa lives with her father Dale (Joe Chrest), her stepmother Janet (Carla Gugino), and her harsh stepsister Taffy (Liza Soberano) following the gruesome death of Lisa’s mother by an ax murderer.
Lisa finds solace wandering a local cemetery, drawn particularly to the gravestone of an old Victorian pianist. The story sets off with Lisa and Taffy on their way to a party, where Taffy attempts to coach Lisa on social norms. At the gathering, Lisa encounters Michael (Henry Eikenberry), the school paper’s editor and her crush, but soon finds herself overwhelmed. After accidentally getting high, she is hit on by her lab partner Doug (Bryce Romero) and flees in desperation to the cemetery. There, she wishes to be with the dead pianist, unaware of the supernatural events about to unfold.
In a flash of lightning, a reanimated creature (Cole Sprouse) emerges and stumbles into Lisa’s life. Covered in mud and missing several body parts, the creature’s grim appearance is only partly alleviated by his docile nature and inability to speak.
. Lisa hides the creature in her bedroom, initiating a bloody quest to replace his missing limbs.
The genre-hopping nature of *Lisa Frankenstein*—from horror homage to spoof, teen comedy, and slasher flick—renders it a mixed experience. If only it could commit to a single genre! Despite this, some dialogues resonate emotionally. For instance, the line “time is the wound, it takes you further away from the place when you were happy” strikes a poignant chord. Additionally, pockets of humor do manage to shine through.
The cast admirably invests in their roles, demonstrating a genuine effort and engagement with the material. Sprouse’s portrayal of the Creature, distanced from his introspective Jughead from *Riverdale*, showcases his versatility, especially when he expresses different emotions through a variety of grunts and groans. By the film’s climax, he delivers a surprisingly eloquent reading of Percy Shelley’s poem *O Mary Dear*, in a voice that belies his grotesque exterior.
The film’s visual elements also evoke nostalgia. The black-and-white scenes nod to Karloff’s era and modern films like *Poor Things*. Concurrently, the neon brilliance of the 1980s is meticulously recreated, lending the film a vibrant aesthetic.
However, like the Creature itself, *Lisa Frankenstein* is a patchwork—assembled from parts that don’t quite fit to constitute a harmonious whole. This lack of cohesion impacts the overall viewing satisfaction. The intriguing premise and commendable performances are not enough to overcome the film’s erratic tone and genre inconsistencies.
*Lisa Frankenstein* is currently available for streaming on JioCinema.
