Film Review: ‘Lisa Frankenstein’ is Pitch Black, Sweet as Sugar, and a Wildly Entertaining Winner

You all know that I love when a movie sneaks up on me. The talent involved in Lisa Frankenstein had me very intrigued. After all, I love Diablo Cody‘s writing, Kathryn Newton has impressed me on more than one occasion, and I was eager to see Zelda Williams up to bat. Even so, I was expecting to probably be amused by this flick, at worst. So, consider me almost shocked at how much I out and out loved this film. Lisa Frankenstein is one of my favorite films of the year so far, which I did not have on my dance card. Regardless, this is a wild gem.

Lisa Frankenstein is Heathers by way of, you know, Frankenstein. It’s almost as if the best elements of Tim Burton have been filtered away from his worst impulses, put into a blender with the Mary Shelley classic, and sprinkled with Cody’s specific sort of dialogue. It may sound like a weird mix, but trust me that it works in a massive way. I had an amazing time with this film.

Set in 1989, we meet Lisa (Newton), a misunderstood teen goth girl adjusting to life after the death of her mother. She has a new step-sister in Taffy (Liza Soberano) that does her best to make her feel welcome, but they couldn’t be more different. Lisa’s dad Dale (Joe Chrest) has married Taffy’s mom, the vapid Janet (Carla Gugino), whom she loathes. Life is pretty miserable, as she explains to the grave of a Victorian era teenager that she hangs around in the local cemetery. Then, one night, it turns out that she’s accidentally re-animated the corpse.

When her accidental creation (Cole Sprouse) arrives, she’s initially terrified, but soon befriends him. He thought she was proclaiming her love for him, so he’s a bit disappointed at first, though he eventually gets into a rhythm. He’s missing some of his old parts though, which he beckons Lisa to assist him with. She’s reticent at first, but once she starts, she gets a taste for the chaos of it all, growing a deep sense of confidence in the process. The third act goes to some wild places, but it’s always fun, while being full of heart.

Kathryn Newton and Cole Sprouse are tremendous here, with terrific chemistry and impeccable comedic timing. Newton is a great match for Cody’s specific dialogue, while Sprouse has some magnificent physical comedy on display. They embrace the black comedy, oddness of the script, and overall weird vibe in such a complete way, you’re immediately sucked in. Newton and Sprouse are the stars and showcases, but Liza Soberano manages to do more with her role than you might initially expect, while Carla Gugino relishes playing the evil step-mom to the nines. Supporting players include Joe Chrest, Jenna Davis, Henry Eikenberry, Joey Harris, Trina LaFargue, Joshua Montes, Jennifer Pierce Mathus, and more.

Director Zelda Williams and writer Diablo Cody have taken the Frankenstein story and brought it into the 80s in a very fun manner. The aesthetic, as well as the costumes, really do lend a vibrant personality here. Williams has the story moving at a brisk pace, while knowing exactly when to drill down on a particular joke. Her use of gore is judicious, while the occasional moments meant to shock actually land. Working with Cody certainly doesn’t hurt, as this is a very funny script, though one that deploys her trademark language in an adept manner. Together, they work in concert to make Lisa Frankenstein incredibly entertaining and instantly memorable.

Lisa Frankenstein knocked me dead. I went in expecting something fun, but I got a 2024 highlight in the bargain. Heartfelt, hilarious, and exactly the right amount of weird, this is the complete package. There’s something for everyone here, while also being completely singular and unique. This film deserves to be a smash hit!

SCORE: ★★★1/2