Trailer: Guillermo Del Toro’s ‘Frankenstein’ Finally Comes Alive

Guillermo del Toro consistently reimagines timeless stories on Netflix. Previously, he brought his interpretation of the beloved animated story, Pinocchio; now, he’s delving into one of the most well-known horror narratives ever written: Mary Shelley’s Frankenstein.

For Del Toro, this project has been a long-held dream – possibly spanning over two decades. He’s discussed it openly since at least the 2000s, and despite several attempts at the project failing at different studios, he finally got the chance to bring his vision to life with Netflix. They funded his adaptation of the Gothic horror classic, boasting an impressive cast that includes Oscar Isaac as Victor Frankenstein, Mia Goth, Christoph Waltz, and Jacob Elordi portraying the Frankenstein’s Monster. The similarities between Victor’s pursuit of creating life and Del Toro’s own relentless endeavor to create his cinematic masterpiece are already making me eager for this film. After all, who wouldn’t be thrilled by a horror tale that mirrors the process of movie creation itself?

As a movie enthusiast, I’m thrilled to share that the first trailer for Guillermo del Toro’s version of Frankenstein is set to debut on Netflix later this year! This sneak peek promises an authentic Gothic horror experience straight from the mind of Guillermo del Toro. Take a look at the trailer below and witness it for yourself!

Here is the film’s official synopsis:

Renowned Oscar-winning filmmaker Guillermo del Toro reworks Mary Shelley’s timeless narrative about Victor Frankenstein, an exceptionally intelligent yet arrogant scientist who breathes life into a monstrous being through an unholy experiment that eventually results in the ruin of both the inventor and his pitiful creation.

Guillermo del Toro’s version of Frankenstein will stream on Netflix starting in November, and all of a sudden, I find myself craving a pretzel that resembles Frankenstein’s Monster’s head.

The Best Horror Movies of the Last 10 Years (2015-2024)

The Witch (2015)

The subgenre of “art-horror,” often referred to as “elevated horror,” has been in existence prior to Robert Eggers’ debut feature. However, the movie The Witch, with its hauntingly ominous environment and unexpected narrative twists, significantly expanded the boundaries of the horror genre. Starring Anya Taylor-Joy (also making her feature film debut), the story centers around a family of New England settlers who were too radical even for their own Puritan community. Their enforced isolation and rigorous religious practices led their eldest daughter towards the occult. The Witch doesn’t rely on conventional fright tactics; instead, it subtly infiltrates your mind and leaves you feeling uneasy and disturbed, as if you had accidentally caught a glimpse of something forbidden.

Raw (2016)

In a bold move, French filmmaker Julia Ducournau unleashed the provocative cannibal film “Raw” that will make even the hardcore gore enthusiasts wince. The plot revolves around a vegetarian girl in her first year at a veterinary school, where hazing rituals spark an insatiable appetite for meat within her – until she experiments with consuming her classmates. The movie is a rollercoaster ride of profound ideas and themes, subtly intertwining a young woman’s quest to assert her own sexual identity with the disturbing concept of consuming one’s beloved objects. Moreover, it boasts an exceptional twist in its final act that sets it apart from many horror films of the last decade.

Get Out (2017)

As a movie enthusiast, it’s undeniable that “Get Out” deserves a place on any list titled something like “Best Horror Movies.” Jordan Peele’s initial foray into feature films is a chilling, intricate tapestry woven from the dark threads of a particularly malicious and subtle form of contemporary racial violence. The antagonists in “Get Out” don’t aim to annihilate their Black victims; instead, they yearn to absorb them, stealing their physical forms while appropriating their identities, sending their minds into a metaphorical void known as the Sunken Place. This haunting narrative unfolds against a backdrop of palpable tension and heart-stopping suspense that keeps viewers on the edge of their seats until the very last moment. While Peele’s subsequent works, “Us” and “Nope,” are equally intricate and epoch-defining, “Get Out” stands out as perhaps his most remarkable achievement.

Mandy (2018)

As I sat down to watch Panos Cosmatos’ action-horror-fantasy masterpiece, “Mandy,” it felt as if I had stepped into another realm altogether. The movie transports us to a hauntingly beautiful Pacific Northwest wilderness, shrouded in neon-tinged mist, where the tragic tale of love and revenge unfolds. In this world, Nicolas Cage portrays Red, a war veteran turned lumberjack whose beloved Mandy (Andrea Riseborough) is brutally taken by the leader of a fanatical cult. Driven by an unyielding thirst for vengeance, Red embarks on a blood-soaked rampage, armed with a crossbow and a shimmering silver axe that seems to gleam like magic in this fantastical journey. “Mandy” is a one-of-a-kind, bizarre experience – a testament to the power of love and the price of revenge, unlike anything I’ve ever seen before.

Hereditary (2018)

I distinctly remember the moment when I first witnessed Ari Aster’s chilling debut, “Hereditary.” It’s one of those films that leave an indelible mark. The movie doesn’t shy away from delivering its most harrowing scenes early on, a technique it also employed in its successor, “Midsommar.”

“Hereditary,” however, is no ordinary supernatural horror. Its terrors are rooted firmly in the real world, making them all the more unsettling. This film isn’t about being possessed by a demon; it’s about the horrors that can occur when you fail to prevent your own sister from suffering an anaphylactic shock and inadvertently causing her untimely death.

Host (2020)

The movie, titled “Host,” is not only an outstanding horror film but also a remarkable example of a “screenlife” production, all filmed during the 2020 Covid-19 lockdown in London. This unique production takes place over a series of Zoom calls among friends who have been using this platform to stay connected throughout quarantine. A virtual séance unwittingly invites a spectral entity into their homes, causing it to terrorize and eliminate the friends one by one. Remarkably, director Rob Savage directed all actors remotely, guiding them on setting up lighting, cameras, and special effects within their own homes, while allowing them significant improvisation based on a brief film treatment instead of a complete script.

The Empty Man (2020)

The movie “The Empty Man,” though debated and not widely recognized, showcases a complex form of horror that becomes increasingly puzzling the more you ponder it. Originating from a graphic novel with the same title, this film was quietly released in cinemas during October 2020, following disappointing responses from test audiences and critics. However, upon its home video release a few months later, it swiftly garnered a devoted fanbase that even the titular character would admire. James Badge Dale plays the protagonist, a former detective who becomes entangled in an investigation involving grisly suicides, cults practicing dark rituals, and his own sorrowful history. This film is as bold and distinctive as big-studio horror productions get.

Titane (2021)

In her breakthrough work, Julia Ducournau captivated audiences with her debut film “Raw”, but truly ignited passion with “Titane”. This movie, known for its unique plot, features a woman engaging in intimate relations with a car. However, it delves far beyond this intriguing premise, offering a Cronenbergian perspective on themes such as gender and sexual identity, selfhood, and the blurred lines between humanity and technology in contemporary life. Describing “Titane” in one sentence is challenging: The story follows Alexia, a woman with a titanium plate in her skull from a childhood car accident, who is a serial killer, dancer, and unexpectedly pregnant by a car. She flees home, poses as a missing firefighter’s son, gives birth to a half-human, half-machine baby, and creates a cinematic experience that stands alone in the realm of modern horror films.

Skinamarink (2022)

Kyle Edward Ball’s analog horror movie “Skinamarink” might be a divisive pick, as it is either incredibly terrifying or remarkably dull to watch. The story revolves around two children who become trapped inside a house with an unknown entity that vanishes doors and windows, and suspends toys and furniture from the ceiling. While this may not sound particularly frightening, the way it’s presented gives “Skinamarink” its unique sense of fear. Each scene is filmed as a single take on a grainy camera, where only light comes from the TV, leaving everything else shrouded in darkness and allowing for an abundance of potential threats to hide within the shadows. After watching this movie, you’ll never view toy telephones in the same way again.

I Saw the TV Glow (2024)

Jane Schoenbrun’s second film, titled I Saw the TV Glow, follows as a chilling horror masterpiece. Two solitary high school students find companionship through their shared affection for a supernatural teenage television series. However, one of them vanishes after running away, only to reappear years later, claiming that their true selves are embodied by the main characters of their beloved show. She further reveals that the world they perceive as real is actually a realm under the control of the series’ antagonist. This film delicately weaves themes of childhood loneliness, pop culture nostalgia, and gender identity, offering both comfort and fear, making it an unparalleled work from one of the most promising emerging directors in the industry today.

2025-06-01 05:55