It is funny to think about how Victor Frankenstein, the scientist in Mary Shelley’s novel, who has achieved so much intellectually and through his unwavering scientific efforts, may respond to creating something as insane and lustful as Lisa Frankenstein. It seems very obvious, but director Zelda Williams and writer Diablo Cody make it seem that the only reason to resurrect a rotting corpse—a handsome one, mind you—is to give your lonely little life meaning.
Being termed a “coming of rage,” Lisa Frankenstein is a clever parody of the rite-of-passage pattern for teenagers, in which a young girl tries hard to fit in, as well as the classic horror book about a malformed man rising from the dead. Though she doesn’t absolutely require everyone to like her, Lisa Swallows (Kathryn Newton, prickly with terrific comedic timing) would appreciate a little more attention.
Almost entirely silent but adding humor and compassion to even the tiniest actions, it was the ideal character for Sprouse.
She seeks solace in the neighboring graveyard to make up for her lackluster home life—an uninvolved dad after a freak tragedy killed her mother, an overbearing stepmother, and a kind-hearted but overachieving stepsister. It’s his grave that she finds most appealing. Although the creature is never given a name, Cole Sprouse (Jughead from Riverdale) finds himself in Lisa’s chamber when his corpse emerges from the earth following a deadly storm.
And so begins a journey filled with youthful love, drastic makeovers, soft murders, and self-discovery. The movie won’t focus on just one theme, playing with the body horror aspects of The Creature’s gradual comeback to life (a role that perfectly suits Sprouse, who is essentially wordless but conveys humor and care in even the smallest gestures) and Lisa’s sudden murderous lust, among other topics like high school politics, consent issues, unattainable beauty standards, and more. With an upbeat jukebox music and an abundance of edgy clothes that were obviously inspired by Grease, Williams brings it all together and amplifies the extravagance and ambition of the ’80s.
The genre exercise and the youthful stars’ pure charm provide entertainment value, but Cody—unquestionably one of the best writers of our time—gives Lisa and her lover so much to accomplish that it sometimes feels disorganized. The discovery that your beloved can be brought back to life with a decrepit tanning bed is merely the beginning of the story; murder isn’t actually the end of the world. Will they even remain partners? Was there really anyone who deserved to die? Maybe it’s enough to wonder how much fun these atrocities can all be.