Frankenstein (2025)

Frankenstein

Dan: didn't actually watch Frankenweenie.

Sidey: No, we

watched Frank.

Cris: is Franken.

Reegs: Yeah,

Sidey: Steiner,

Dan: yeah.

Reegs: my daughter. It's funny how life goes because we started this podcast 'cause we were sort of half inspired by the stuff that our. Kids were yeah. Watching and it was spirit, if you remember in the first episode.

Sidey: still

Reegs: Still it never been beaten as a, as a, a kid's TV thing.

And then this week my eldest has started reading Frankenstein

Sidey: All right.

Reegs: school, Mary Shelly. And then of course the movie has just come out on Netflix.

Sidey: Guillermo del Toro,

Hold

Reegs: Mm uh, probably a perfect mixture of source material and director for this kind of thing.

Cris: Yeah.

Dan: And Frank and Weenie was the, the people that actually own this house.

Their son was the lighting guy in Frank and Weenie. Wow.

Reegs: Alright. Okay.

Cris: Wow. I did a great job.

Dan: Yeah.

Sidey: I [00:01:00] was chatting to someone at work day and

So we did the weekend, oh, I went to cinema. And I said,

what did you

watch at cinema? And they said, parts of the Caribbean two. Yeah.

It

Dan: you say, did you say, oh, did you go back 20 years or

Sidey: I said, Oh the guy that did storyboard art and like art direction on that we interviewed on the podcast

and they're like, sure,

I was like, yeah, we did.

Dan: yeah, because we're big time.

Reegs: big

Sidey: But that's got nothing to do with Frankenstein. But it's, I think had a very, very limited cinematic release, but it's effectively a Netflix.

Thing.

Reegs: Yeah, it did have, I think it was released for a week.

Sidey: Yeah.

Cris: Oh really? Was that it?

Reegs: Yeah, because obviously they want it to be up for Oscars and stuff, so it has to get a cinematic release.

Sidey: So if you

then compare the metrics, it cost 120 million to make approximately, and it made its box office receipts were 144,000.

Reegs: Mm-hmm. So

Cris: But in a week. Yeah. But obviously in a week, what are you gonna do in a week?

Sidey: It's, yeah. Like retail's just a technicality. So.

that they can

Cris: Yeah. But that's that's sometimes I think with the more recent films [00:02:00] now that we, that actually makes sense to me because I never knew that that's a thing. Yeah. And when sometimes when you say, oh, I didn't make money, but.

how,

how do you, because if it's just for Apple or if it's just for Netflix, they will get paid through

Sidey: they will then also spend a fortune on marketing it, specifically for a award. Award consideration as well.

Buying votes basically.

Anyway, this it stars Oscar Isaac.

It does.

He's super hot. Jacob Edge. Yeah. Mia Goth. he's

Reegs: super

Sidey: Mia Goth is also super hot. She Didn't

breastfeed anyone in this. No, unfortunately. And Christophe Waltz

Reegs: kind of hot.

Sidey: Yeah,

So

super horny movie.

Reegs: It starts, before it even starts, you get a little Frankenstein themed ent. The Netflix banner that comes up and it's, it sort of goes through it with electricity surging. It's only like a five second thing, but it's really cool.

enjoyed

Cris: notice that,

Sidey: Do we then go into the ice?

Reegs: We do. You get Prelude comes up in cursive text and it says far the most north in 1857. So [00:03:00] transporting us to the end of the book and

Cris: the end of the world,

Reegs: years after it was actually set, I think. But the end, the book was, the end of the book occurs in the Arctic and this one starts there.

There's a ship buried in the ice, isn't there? And a guy who looks suspiciously like Captain Bird's eye. No. Members of The Danish. Royal Navy. And they're working to, like, there's loads of men that their, their spirits are down. They're working hard to free the ship with hammers from the

Sidey: Yeah. It's

like the first mate or whatever. the guy's rank is the same the captain but the men. are Like

fucked. Yeah. And

You know, it is, They're not gonna be able to continue. And The captain's like, yeah, that's great and everything, But if we don't free it from the fucking ice then we are fucked.

Dan: we're doomed.

Sidey: So he kind of shouts at the crew to say,

Reegs: and he's also saying they're gonna continue on with their mission, even though the men are cold and want to return home.

Sidey: the men kind of cheer and then all of a sudden there's an explosion off in the distance.

Reegs: And they follow the sound of it to find Victor Frankenstein, Oscar Isaac lying in a bad way, a sort of [00:04:00] prosthetic leg that's, that's still sort of half hanging off at a horrible angle.

Sidey: and a wound.

Reegs: Yeah, so they take him on board the ship, and then there really is a terrific action scene where we see Frankenstein at first, sort of in the, cloak in the silhouette against the sky, and then he just kicks a fucking load of ass, throws people into the side of the boat

Sidey: They shoot him a bunch of

times. but didn't do

Reegs: doesn't do anything. He breaks this one guy's kind of spine and he's just walking around as a pair of legs for like two or three seconds. It's really horrible.

Throw him many more with super strength into the fire, that sort of thing. Yeah. And eventually they get this blunderbuss thing out, don't they? And he comes

Sidey: Well, he's,

He manages to get up. He climbs up the ladder, doesn't he? And, and, and like you say, they've got this Yeah. It's like a bundle.

It's like

three

Barrels. And

and it, and it rotates. So Yeah. But they blast a few times and he falls over.

And

then, so we've just seen how many men are working on this ship

to

Reegs: Yeah, I know. Yeah.

Sidey: And he just, [00:05:00] Frankenstein, well, sorry, the creature. Just

like slams it a few times with this fish and he just pushes it and he is tipping the entire, and we're not talking about a little sailing

boat here.

It's a fucking like the

Reegs: ice breaking thing. Yeah.

Sidey: And he is about to tip it over. Yeah. Completely. And the guy's like, gimme the gun. He is like, there's only one short left. It

doesn't, do

Cris: can't kill Him.

Sidey: is like, I'm not aiming at him. And shoots the ice.

Reegs: He

shoots the ice. And the monster is the creature is consigned to the icy depths.

And the now awake Victor. Says he'll be back. And then says, I made him. And then he goes on to say, there's a great little thing he goes on to tell his story effectively. He says, some of what I'll tell you is fact and some of it isn't, but it's all true which I enjoyed very much. And he introduces himself, his as Victor, his name, meaning to conquer, handed down to him by his

Sidey: he was Sounds his dad.

Reegs: Charles dance.

Cris: a guy. Lovely, lovely bloke.

Reegs: A real abusive asshole. Who lords power over his son and his wife in a kind of creepy [00:06:00] manosphere type way.

Cris: had a great gaff though.

Sidey: He, He's a surgeon. He's,

he's a

very a

Cris: acclaimed surgeon.

Sidey: surgeon. And at one point, when he is teaching his son about anatomy and all the rest of it.

and it, every

time he gets it wrong, he gets the

cane. Yeah.

And, and at one point Victor holds his hand out and he says, no, you'll need your hands.

Yeah. 'cause he is got to follow in his father's footstep. And so he cans him across the face and you're like, fucking

Reegs: There was a nice bit here as well because the question he stumbles on is on a function of the heart and later on mere Goths character will say to him, the, the thing you don't, you understand the least is the heart.

Yeah. It's quite a nice little

Cris: Elizabeth is her name.

Reegs: Yes.

So he is like a real asshole and strives for perfection. And also is she's pregnant his mother that he enjoys a slightly creepy relationship with.

Cris: There's a few creepy relationships in this film anyway, so let's not

Reegs: Yeah, find

it

Cris: it too.

creepy or too confusing.

Reegs: That's a typical Del Toro type thing to have a few like icky relationships in his thing. He was the fish fucker after all. Yeah. And [00:07:00] so she is pregnant and Charles dance will make her eat this really red steak in a really sort of power controlling way. And then eventually she'll go into a sort of early, like I don't Yeah.

Early labor and. She dies.

Cris: But the brother survives,

Reegs: survives,

and the father can't save her. He is obviously a surgeon. So already Victor's gonna be holding that against him for the and his mother that he loves so much. And also his father seems to give his younger brother William the love that he so desperately craved from him.

He's much kinder to him and less demanding and all that sort of stuff.

Cris: Yeah.

Reegs: And then so, he'll turn it round, won't he? In fact, Victor, at this, this point is where his sort of hubris will start to rise. 'cause this is where he'll say to his father, I'll, I'll achieve what you can't. Yeah, I'll start to I'll be able to bring back the dead or reanimate the, the dead in a way that you couldn't.

and then we'll cut to several years later, won't

Cris: Well, he goes [00:08:00] through it a little bit as saying that he, there was a couple of fires and he, he could kind of gets a bit vague about it, about his father's estate. And after a few fires and after a few things. All that's left is the house. And then he gets sent to Edinburgh and the brother gets sent to Vienna to stay with different families.

right. And we do have that montage with the. The great casket content, by the way. Really cool. Mm-hmm. So we get those kind of bits where the funeral of the mom, the funeral of the dad, and then he's in Edinburgh at a presentation.

Reegs: He's at a disciplinary hearing.

Cris: Yeah. Sorry. Yeah. That's,

Reegs: he's sort of having to defend his experiments, which are a horrible macab affair where he is got this sort of half skinned torso and an arm that he's rigged up with electricity that he can sort of bring back briefly is clearly an agonizing pain.

Cris: And

it is the first time we get a glimpse of the Christopher Waltz and his gold plated shoes.

Great attire, by the way, [00:09:00] for Christopher Waltz

Dan: So, so I haven't seen this film. It sounds good so far, to be honest. And it, it, what it's made me think of is a book that I've just finished reading, although. Frankenstein likes to reanimate people, the book that I, I was reading it was called the Bangkok Asset. Obviously I've just been in Thailand, just come back and I like to read books about the places that I'm in and the cities and things where, when I'm there. But it was around, experimentation on people, again, in a slightly different way.

It was the MK Ultra.

Reegs: Oh, yeah,

Dan: Which then came up in a news story and the BBCA ladies just suing the government now for having put her in the MK Ultra thing, which was like a, an a mind altering thing. The CIA did using LSD. To see if they could create perfect assassins and things, and people with in the book anyway that I read.

They actually though officially the [00:10:00] program is stopped in 1973, around from 53 to 73 officially, and that is like factual. And they've all admitted that they said that they carried it on in black. Site ops and things, and people had this kind of almost Frankenstein strength where they could almost download apps in themselves of super strength or being Read Your mar Yeah.

That kind of thing. And you think this is like, you know, Frankenstein and me, Mary Shelley have written about, you know. These superhuman people that were experimented on. They weren't just bringing him back to life. He was, they were building somebody who

Reegs: more is about like somebody creating something that they can't control.

Dan: Yeah. Well, exactly what happens in this book as well. They can't control these, these people, you know, but they, they try to, they, you know. See what they can do. But it's, it just, you

Reegs: you can imprint a lot of stuff onto that metaphor, that Promethean metaphor. In this [00:11:00] one I found Oscar Isaac, it kind of like a sort of 18th century tech bro. And it was difficult not to put a reading of AI onto it and that sort of

Dan: thing. Yeah. Well this is

Reegs: anyway,

Dan: of where my mind's going is we we're talking about it. I know, obviously I know the Frankenstein story. I know it's very different, but it just, you know, made me think how. Inspiring. I guess these ideas have been to later writers, even though it's, it's years and years ago.

Mary Shelley.

Reegs: Yeah. So yeah, Christopher Waltz's character turns up Harland. He knows of Victor's work via his younger brother William and his soon to be betrothed wife Elizabeth.

And he comes over and pretty quickly starts bankrolling. I Victor's operation, which is a really grotesque affair of like going to people being hanged,

hang

Sidey: people, hanged criminals and soldiers body parts

and stuff.

Reegs: He looks one guy in the mouth. He's like, you're gonna, you would've died in a couple of weeks anyway, so, and and yeah,

Sidey: but he's got,

Reegs: he says he's got a [00:12:00] strong back or whatever. So he's getting his operation bankrolled by the Christopher Waltz on the promise of doing me a favor later, is what he says to him.

Sidey: And it's all 'cause he is got his mad like.

scientist gothic castle thing.

Yeah. All practically built, like real, there's no like CGI in those sets.

Yeah. Which is pretty

fucking epic. And yeah, he's planning to, he's, he's got the whole

like

body built, the whole,

Reegs: he goes full mad scientist really at this point is a lot of really

Sidey: back to future, like

light it up with lightning.

Reegs: Yeah, but first there's a bit like just bodies after bodies getting

Cris: is really good as

well.

Reegs: Where it gets imprinted as like on a resin on a wooden board where he discovers that he discovers some stuff and, and then there's just some real horrible bits of cutting bodies up and breaking off arms and large blocks of ice. And he goes to the aftermath of a battle to go and

Cris: well, all, all while this is happening, he's falling more and more in love with his brother's

Reegs: [00:13:00] Elizabeth.

She gives him an anti-war monologue as a kind of disguised as a critique of what Victor's actually doing basically. And

Cris: and

then he tries to keep his brother at the, to build his kind of castle in his lab.

Yeah. And while all this is happening, they are nearly there, but he loses focus on building this life form. And he's more and more infatuated with his brother's wife until he gets the ultimatum from Holland to say. She

Reegs: she is

Cris: got one week mate.

Reegs: Was it? They were either the same actress. I didn't check it or they just looked identical to the mother. It was either M Goth playing his mother as well, or just

Sidey: actress I thought they were just similar looking 'cause very similar

Reegs: very similar looking,

Cris: one was older though.

Reegs: Yeah, I

Sidey: I didn't

Get on with, me goth in this for some reason

Reegs: You don't like her, I don't think. 'cause you didn't like her in Infinity Pool either. And

Sidey: I didn't like her performance now. I didn't like her performance. Inness either.

Reegs: Yeah, exactly. I think it's not for, she's not for you. But she they will have this kind of flirtatious thing, but then she does make it quite [00:14:00] clear through a metaphor about her being a butterfly in a cage that, you know, she sort of feels compelled to marry William and there can be nothing in this relationship with Victor.

so he'll go more and more mad scientists where it does come to, creating the life form who we've now seen stitched together wearing this sort of Iron Man style thing over his chest.

Sidey: Yeah.

Cris: And he kind of, there's a storm coming. He puts all the batteries and all the silver rods low in to everything where they need to be.

He lifts the humanoid life lifeless form up. He goes to see Hollander to say, come and witness what we're about to do. And then he sees that Hollander has a problem.

Reegs: He has

Sidey: Yeah, he does. Yeah. he is about to snuff it,

Reegs: going to die.

Cris: And

that's when we find out what he really wanted.

Reegs: Yeah. What he really wanted was to be the brain, essentially, of this reanimated creature.

And that was the condition for his thing. And, you know, Oscar, Isaac, a, he probably should have told him [00:15:00] this a long time before, but B, he's like, you know, syphilis, you're fucked, mate. He can't have it.

Dan: your, your brain's a little bit minced after that. Yeah.

Reegs: So, Christopher Wolf sort of, it kind of, if it won't be me, it'll be nobody at all tries to ruin the experiment and then ends up dying.

Sidey: Yeah,

Cris: He,

Reegs: Sort of accidentally, Frankenstein tries to save him, but his shirt rips and he falls to his death and he goes down to save him. He picks his head up off the floor and it's just like his brains just fall out the back. It's horrible. So the experiment works anyway, even though

Sidey: he thinks at first it hasn't, but the next morning falls

Cris: to bed

Reegs: yeah,

Sidey: It's, he's alive

Reegs: he waits. You don't get that, do you? You don't get any of that stuff. It's alive. It's alive when he goes to bed. When he wakes up, the creature is standing over him.

Sidey: Yeah. he he is able to teach him his name.

Yeah.

Reegs: Yeah.

Sidey: He's gonna get to shout quite a lot.

Dan: I like the alive bit.

Sidey: I

Reegs: Yeah. You

don't get that

Sidey: too

cliche, isn't it, to have it in this?

Reegs: But you know, predictably, I think Victor Frankenstein has spent a long time thinking what, how he [00:16:00] would reanimate the dead, not what he

Sidey: would

Reegs: do once it was here. And it's, you know, he obviously realizes he's strong.

Sidey: Yeah, He could have built like a little flimsy little one, but no, he is built fucking,

Reegs: apparently he was easier to work at.

Scale, I think is

Cris: That's why he says the bigger the better because it's easier to

Sidey: And so Yeah.

it's hard to control this one. So he changed it up in the basement. What is he gonna do?

Reegs: and then essentially immediately recreates the dynamic that he had with his father. You know, generational trauma being a theme in this movie that, 'cause he's.

Upset that he's not intellectually on his level, essentially can only say, you know, one word, his name. And so yeah, just recreates that dynamic, that power struggle that he had with his father and is ara and abusive essentially almost immediately to the creature. He's shown to be fairly gentle, really, especially in these

Cris: And quite scared.

Reegs: Timid, lanky as well. Not like a big, I mean, he's tall, but lanky and under.

Sidey: He doesn't look like Arne.

No,

When we see, when we've seen him in the movie throwing people around. You think he's gonna, but he's not really.

Reegs: Well, [00:17:00] he will change quite a lot throughout the movie

Sidey: He gets hair and everything.

Reegs: So he'll be left there,

Sidey: there's only one thing to do really

Like fucking set fire to the whole place.

Reegs: Well, Elizabeth and so Elizabeth and William are gonna show up, his brother and Elizabeth is gonna show up and they're gonna discover the creature there. And that's when she's going to get a bond with the creature quite quickly. How

Cris: as well.

Reegs: Quite

sexy and weird. And he'll, the creature will learn her name as well.

And that will kick off a sort of weird bit of like jealousy and through sort of.

Cris: and then he shows his brother the dead body of Hollander and says like, look the creature got mad and killed him.

Reegs: Yeah. He lies and blames Hollander's death on the creature. And then yeah, because he's jealous of Elizabeth's interest in him.

He decides to blow it all up. We've already seen he's tried to kill him a few times, but the creature can sort of instantly heal, can't it?

Sidey: you know,

and

we've kind of seen that like later, but earlier in the film. Yeah. when people are just shooting it, and nothing's happening,[00:18:00]

Reegs: So he fills the whole castle up with like.

Sidey: we see him just chucking petrol,

and then he'd see a bit more, and then we just see another shot where there's about a hundred of these canisters going up the stairs and they're always really going for it.

Yeah.

Reegs: So he sets the whole place on fire and you can, the creature is in the basement chained and shouting his name in pain and fear.

And that will actually reach Victor as he's walking off. He'll run back and be injured horribly in an explosion that occurs. Really grimness bit, just blows

Cris: Yeah, it is really good. It's made really well with the way you can see his, his like, basically his tibia am fibula and everything below the knee just kind of shatters and it, its quite co cut, nicely made for

Reegs: Well 'cause the movie looks absolutely stunning. Many painterly compositions and incredible production design and all that stuff. Great costumes, all so yeah, he'll get that injury. And then we'll cut back to the ship. The ship. The ship. Yeah. And Victor telling the [00:19:00] captain this story, and

Sidey: because the

creature is now back on

board the

Reegs: creature is now, well, in fact, he'll come right to the,

Cris: the door

Reegs: and.

The, the, so the captain is like, well just kill me now. You know, prove yourself to be the monster I've heard you be. And he's like, well, hang on a minute. He's been telling you the story. I'll tell you my story. And so the third

Cris: then it's like, yeah, the creature, whatever.

Reegs: So

we've had this like prelude bit at the beginning to set it all up, the mad scientist story.

And now we're gonna get a kind of much more like a fairy tale type part for the last maybe hour of the movie where he'll kind of go into the forests. We'll see that he escaped that. The fire, the fire, and. As he'd been experimenting, sending leaves down this stream, he went out down that stream himself to, to safety.

And he'll meet up with like the forest animals. The first thing he finds is a deer that he shares berries

Sidey: with.

Oh, that's really sad.

Isn't.

Reegs: Yeah. And the, it's like beautiful 'cause he shares berries with the, the deer alerts him to the berries and eats one and gives one to the, the deer. And then the deer is shot through [00:20:00] the head by these three farmers which he follows back to their,

Sidey: he sort of turns around and looks up at 'em.

and They're like, what the fuck is that? Yeah. And the guy's like, just shoot it and they shoot him. Which You know,

is

Reegs: that's just everyone's reaction to him is obviously to

Sidey: just violence. Yeah, Yeah.

Cris: Yeah.

And they're all like, what was that? I dunno. It was a creature

Reegs: It was a bear.

Cris: It wasn't the bear, it

Reegs: whatever, blah, blah, blah.

So they'll leave him in a forest and he'll trace them back to their house where they're living with David Bradley, the

Sidey: Walter Frey.

Reegs: Yeah. Game of Thrones. He's a blind, kindly old man who lives

Cris: he gets there before them.

Reegs: I think he does. Yeah. He

Cris: of gets there before them hides

Reegs: out in their barn.

Cris: hides.

Hides there with the mice and then they come back and they are actually with a blind old man and the child. That's right. And yeah,

Reegs: make friends with the mice and also he'll become a kind of what do they call him? Forest spirit or something that eventually doing nice things for them and they

Sidey: he observes them, doesn't he? And, And

what the old man's, the kind of [00:21:00] linguist he's teaching people and this is how he picks up language.

And then they'll, they'll sort of go out in the morning and he have built these sort of structures out.

of

Reegs: Yeah. He's gathered wood for them or built them a, a stable or whatever. He's done a load of work for

Cris: Well, the idea is because the old man is blind, he feels and he knows that someone else there and he can

Sidey: says he

Reegs: and it gives me one of my favorite shots in the movie when he's enjoying some of the benefits of the, this relationship that's nurturing him and he's sitting on the roof, bathing in the sun that we've already been told is God's love.

And he's sitting there with the mouse on his shoulder and he's kind of just giving it a little stroke. It's like, oh

Dan: oh, he's found some

Sidey: And they, they leave offerings out, 'cause they think it's like a God or whatever, that's doing, you know the spirit and they leave offerings, the spirit and he is just like, every night, it's getting some snacks.

It's like,

Reegs: Yeah.

Cris: but the, the farmers leave.

Sidey: It can't last forever. Sadly,

Cris: leave and the old man wants to stay. He stays with the, with the old man and

Reegs: he will teach him to read.

Cris: He teaches him to read. He teaches him the Bible. He teaches him. He gives him a few advices on a few books and that, and then he [00:22:00] realizes he's having dreams.

Of different people because he's obviously different parts of different other people. And then the old man says, you need to find yourself who you are. What do you know? I know one word, Victor. Well, you need to find yourself where you the fire and you need to go. And he goes back and he finds the letter with Victor's address from, I think from Edinburgh

Reegs: Yeah.

Cris: and a few other bits in the composition of what he was actually made of and all

Reegs: Yes. He starts to understand himself a little bit. Yeah.

Cris: And then the problem is when he goes back, the wolves have broken into the house and attacked the old man.

Reegs: They've killed David Bradley.

Dan: Oh yeah.

he attacks

Cris: the wolves in, in turn, in his

Reegs: He skins one with his bare hands,

Sidey: It's really grim

Reegs: its entire skin off.

It's horrible. And

Cris: and then the. The farmers come back at the same time and he gets shot again quite a few times actually.

Reegs: Yeah. I mean, it's sort of almost like he's

Sidey: gets shot in the eye, doesn't he?

Reegs: Yeah. And he's kind of out for the count for a little while [00:23:00] at this point. So this is where he decides to head off to find Victor, right?

Cris: Yeah.

Because he said he needs a companion.

Reegs: Yeah. And

Sidey: He realizes that he,

Reegs: and

Sidey: he realizes he's effectively immortal And if he's gonna carry on like this, he needs companionship.

Yeah. So the only way he's gonna get that is if Victor is able to make him one.

Reegs: yeah, and Victor at this point is at William and Elizabeth's wedding, pre-wedding Bash.

Getting ready for that and having some last minute conversations with Mia Garth where she again, makes it clear that nothing's gonna ever happen between them and what a monster he is basically at this

Sidey: point.

Reegs: Yeah. So the creature will turn up at the interrupt the wedding party. Basically.

There's that hush silence when he walks in, isn't it? And all that when he comes in.

Well,

Cris: he smashes Victor against the wall and against the bed and all that.

Reegs: Yeah.

And eventually they will enter a dialogue where he does, like you say, ask him to build him a companion.

Sidey: It's

Cris: And then af after the beating Mia Well, the, whatever. [00:24:00] Elizabeth comes in and accidentally Victor shoots her instead of shooting the creature. Yeah. She gets steps in, in front of the creature, not knowing the creature's immortal.

Reegs: Yeah. So she takes a bullet meant for the creature. Yeah. And she dies and the creature carries her off in his arms,

Cris: in a cave to,

Reegs: to, to, yeah. To I guess lay to rest in that cave.

Sidey: Yeah.

Reegs: And he follows the blood through the snow, doesn't he?

Sidey: Yeah.

Dan: It sounds quite sad.

Sidey: Very sad. Very sad.

It's

Reegs: sad.

Dan: Sad.

Cris: After that he, they kind of have

Reegs: oh, and in that, sorry. Just in that interaction as well, his brother William is also gonna get his head smacked and it's sort of an accident, but he's also gonna die.

Yeah. So Victor's lost his

Cris: and his brother tells him, I always hated you. I was always scared of you. You are fucking

Reegs: yeah. He calls, he says, you are the monster. If we hadn't, if we needed it spelled out to us. And this is where, oh, there's a really bad bit where he is the creature says to him, you only listen when I hurt you.

Which is, you know, obviously [00:25:00] sad stuff. So this is when I think we cut back now to sort of join the story up almost because we

Cris: pretty much because he is like, he will have to. chase me. And that's what happens. Victor chases him until

Reegs: they're up in the North pole.

Cris: north, the north most point.

And that's, that's where we kind of go full,

Reegs: He goes hunting, basically Victor goes hunting the creature up in the, in the Furthermost North Point, and we see the explosion

Cris: and how it happened with dynamite and,

Reegs: the dynamite and all that sort of stuff. And then so it joins back up with where we are now, and they have just a, a big discu, like a.

They sort of resolve their differences. They, you know, he forgives him. And I guess that's probably all you can ask for in this

Sidey: that. Yeah. The only way to stop this cycle of abuse and, and violence by the way is just to forgive someone.

Reegs: Yeah. And they accept their roles as father and son

Sidey: calls him it calls him son.

Yeah. And then he says, oh, father. Yeah, my

father

Reegs: So, Frankenstein kind of free the [00:26:00] boat. The, the men,

Cris: well the doctor Victor is dead. And then,

Sidey: Victor succumbs to his

Cris: when the creature leaves, he just pushes the boat

Reegs: The captain sort of says, let him go.

give him pass, let him go. And he frees the boat and the boat goes off, and then he's just left walking off into the, into the sun.

That's probably a slightly more optimistic ending than it was pessimistic, I think, at this point. I fucking love this.

no,

Sidey: I didn't hate it I just, it was only okay if not too fucking

long, like two and a half hours,

man. what the fuck. Why does every movie have to be two hours plus? I like, like a lot of stuff in it. One thing I didn't like was the design of Frankenstein himself.

That, Sorry, the, the creature. Yeah. I didn't like that one bit.

Reegs: He looks a bit like the guys from Prometheus, but slimmed down. He sort of changes over the movie takes on more mass and his skin changes as he, as he becomes

Sidey: Mostly get shredded off him and bullet wounds and whatever.

Yeah. But I found that quite jarring the first time I saw. her. I didn't like That Don't really like Mia goth. I'm sure I would like [00:27:00] her in something

at some point. I

just didn't vibe with her in This like really liked Oscar Isaacs the performance and can't like him, he's

a fucking asshole. But for a story that we are familiar with,

if familiar was too long.

Cris: Yeah. Way too long. It was interesting and it was interesting to kind of, the way they've done it with two perspectives and, and a bit more like the fairytale thing where, where it's oh, oh, and then it's like, but every time you get a bit of an Oh moment, the deer gets shot in the head.

The old boy gets attacked by the, so it's kind.

No, I know, but I know. I'm sorry. I understand, but it's just like every time you're trying to get to something positive in this film, everything is go going to fuck. But it's way too long. I, I'd really

Reegs: I, I disagree. It's, it, I, there's like a, a, a bit that's a, it's sort of typical Frankenstein sort of mad scientist movie and then a very different bit tact on the end where you get to see the sort of creature's humanity, which is I think a, like a key part of the [00:28:00] story.

So I really liked it. It is two and a half hours, which is a long movie, but I think it probably works. But, you know, everyone's got their

Dan: see, it doesn't put me off there. It's two and a half hours long. I was gonna watch flowers of the Crimson Moon, which I think is about three and a half hours long. And I've seen long films before, but I do take your point, it's a story that's already quite well known.

I suppose it's trying to bring something different to that story

Sidey: well, and you know, if there was a director, like, you know,

Like almost custom made to make this film then Ga Del Torres, your man.

And it

does look like visa. It does look fantastic. It's like spot on.

Cris: Costumes, lighting.

Sidey: everything. It looks great. So in

Reegs: It's like

many little nods to movies that he clearly loves as well, but not in a disconcerting way. But lots of little shots from other movies and that sort of

Dan: No, I think I'm quite keen to see this actually. I like

Sidey: think you would enjoy it. Yeah, definitely.

Cris: But

get ready for some, when, when he kind of

saws off limbs and

Reegs: Yeah. It's some pretty grotesque.

Cris: be [00:29:00] quite grotesque, but it's, I mean, that's the way it is, right? So you can't

Dan: yeah, well, you know, what you're getting in

Cris: yeah, yeah, yeah.

Dan: in for

Reegs: But it's still like that timeless story of like technology getting out of hand and the responsibility of the creator to

Sidey: the tech bros thing. It's a good

Reegs: technology. Yeah. I really feel that that was sort

Dan: as, as I say, it reminded me when you're talking about it, of you know, different themes and different stories that. More modern than, than this one. And I think it all goes back really to the credit of Mary Shelley who put this together quite quickly, I think is

Reegs: was only 18 as well. She was doing a ghost story, a competition with Byron and a few

Dan: with, with a few friends and, and things. And she threw together this in a few hours time. Yeah.

Reegs: quite a short, it's a novella, isn't it? So it's quite short.

Dan: she threw it together and there was like. That was it.

Had legs

stayed. Had legs. Had legs

Cris: and a heart, apparently.

Dan: Okay. So I would say this was a strong recommend, but I haven't actually seen it. Reek

Reegs: Yeah, [00:30:00] strong.

Sidey: Strong,

Strong.

Dan: Okay.

Sidey: Strong.