Lisa Frankenstein (2024) is directed by Zelda Williams and stars Kathryn Newton, Cole Sprouse, Liza Soberano, Carla Gugino, Joe Chrest, Henry Eikenberry, and Bryce Romero. This is writer Diablo Cody’s second foray into horror-comedy after Jennifer’s Body (2009). This is also the feature-length directorial debut of Zelda Williams, daughter of the legendary Robin Williams. The film follows a teenage girl named Lisa (Newton), who after experiencing a horrible tragedy, moves to a new school/town/home when her father remarries. Lisa’s new step-sister, Taffy (Soberano), tries to help Lisa adjust as much as she can, but Lisa continues to be an outcast. In her loneliness, Lisa develops an obsession with a headstone that displays the bust of a beautiful young man whom she sees as the perfect lover. When visiting on a stormy night, lightning strikes the grave, bringing the dead boy (Sprouse) back to life. The two begin an unconventional romance that leads Lisa to adopt a newfound sense of confidence. Although their romance is initially beneficial, it soon leads to secrets, and eventually murder. 

Kathryn Newton as Lisa is perfectly cast and gives one of her best performances. The film is very reminiscent of Tim Burton films such as Edward Scissorhands (1990) or Corpse Bride (2005) and Newton’s performance plays into this by channeling a young Winona Ryder. She’s funny, scary, sexy, and everything in between here. It’s just such a well-rounded performance that I couldn’t help but be impressed. 

Cole Sprouse plays the titular Frankenstein’s Monster character and his physical performance rivals what Emma Stone achieved in Poor Things (2023). Unfortunately, the character (naturally) cannot speak. This leads to some funny sequences, but it’s at the expense of getting to know this character on a deeper level. By the end of the film, the only thing we’ve learned about the character is that he likes Lisa. We’re barely even told WHY he likes Lisa. It’s almost as if he’s simply a plot device. 

The only real standout in the supporting cast is Carla Gugino as Lisa’s cruel step-mom. She finds this perfect balance between palpably hateable and absurdly hilarious. I’ve made this comparison in other reviews, but she once again reminds me of Dolores Umbridge from the Harry Potter franchise. The only downside is that this isn’t a particularly original caricature. Unoriginal, but nonetheless, it remains entertaining. 

One of the film’s biggest strengths is the surprisingly balanced direction from rookie director Zelda Williams. She’s able to balance humor, horror, and teen angst in a way that feels visually cohesive. Unfortunately, the film is let down slightly by Diablo Cody’s script. This feels similar in structure to Jennifer’s Body but lacks that film’s subversive edge. It feels like a step back. By the end of the film, I found myself wondering what it was trying to say. The themes are muddled to the point where I was wondering if the film was trying to tell me “When you die inside, you become who you’ve always wanted to be.” That’s a weird message, but it might appeal to goth audiences?

Overall, this is about equal in quality to its sister film Jennifer’s Body, but with different strengths and weaknesses. The direction is strong and the performances are perfectly calibrated, it just didn’t provide me with much of a thematic or emotional hook. This is a strange film and I suspect it will play best for angsty/gothic viewers. For someone like me, it was just ok. For its target audience, this is destined to become a cult classic. B-