Lisa Frankenstein (2024) Movie Review

When was the last time we were treated to a teen-centric movie that instantly etched itself into the annals of classic cinema?

If we cast our minds back, outside of the offerings of this year’s Sundance Film Festival, which unveiled promising titles like Megan Park’s “My Old Ass,” the year 2018 springs to the forefront. It was a year that gifted us with not one, but three cinematic gems that effortlessly captured the essence of teenage life: “The Hate U Give,” “Eighth Grade,” and “Blockers.” Some might even argue for the inclusion of "Booksmart" from the following year. Regardless, it's evident that it's been quite some time since we've seen a teen movie of such caliber.

“Lisa Frankenstein” appeared to hold the promise of becoming the next timeless teen classic, boasting a delectably twisted narrative blend. Penned by the incomparable Diablo Cody, known for her adept understanding of both teenage girls and adult women, as evidenced by her work on “Juno” and “Young Adult,” as well as the darkly comedic delight, “Jennifer’s Body.” Adding to the allure is director Zelda Williams, making her feature debut, and the casting of Kathryn Newton, known for her role in "Blockers," in the titular role. Newton portrays a reclusive '80s-era goth girl who embarks on an unconventional romance with a creature from beyond the grave.

Despite these promising elements, “Lisa Frankenstein” falls short of expectations on every front—be it as a comedy, a coming-of-age tale, or an unconventional love story. The blame lies partly with the script, which fails to push boundaries in any particular direction, and partly with the direction, which translates the story's timidity onto the screen, resulting in visuals devoid of the enchanting allure one might expect from such a genre-blending narrative.

The story revolves around Lisa Swallows, a misfit who witnesses her mother's brutal murder by an ax-wielding assailant, only to find herself thrust into a tumultuous family dynamic following her father's remarriage to the unsympathetic Janet (portrayed by Carla Gugino). Lisa navigates her days, avoiding her popular yet compassionate stepsister Taffy (played by Liza Soberano), and seeking solace in the confines of a nearby cemetery. Her longing for the occupant of a particular grave takes an unexpected turn when her wish for companionship is granted in the form of a resurrected corpse.

Viewers might find themselves yearning for the whimsical specificity and irreverent charm reminiscent of “Beetlejuice” or the poignant introspection akin to “Edward Scissorhands.” While Cole Sprouse's portrayal of the smitten monster corpse channels a young Johnny Depp-esque melancholy, the film's attempts to interweave its diverse genres fall short of their lofty ambitions. Consequently, “Lisa Frankenstein” fails to leave a lasting impression, even as Lisa and her undead companion embark on a quest for human appendages to complete the creature's makeshift body.

Despite its shortcomings, credit is due to Cody for crafting a script that pays homage to Mary Shelley's classic while championing the cause of misunderstood misfits. Both Cody and Williams share a nostalgic reverence for the '80s, a golden era of high school films where a movie like “Lisa Frankenstein” would have found its place. However, the film ultimately falls short of capturing the spirit of its cinematic predecessors, feeling dated and lackluster despite its vibrant production design and nostalgic soundtrack.

In its finest moments, “Lisa Frankenstein” resembles its titular monster—undead, yet aimless. It's a disappointing realization for a film that held such promise but ultimately fails to find its footing in the modern cinematic landscape.