Our JP gives his thoughts on Kathryn Newton and Cole Sprouse’s horror comedy “Lisa Frankenstein.”
“Lisa Frankenstein”
Focus Features
- Director: Zelda Williams
- Writer: Diablo Cody
- Producers: Mason Novick, Diablo Cody
- Executive Producer: Jeffrey Lampert
- Cast: Kathryn Newton, Cole Sprouse, Liza Soberano, Henry Eikenberry, Joe Chrest and Carla Gugino
Synopsis:
A coming of RAGE love story from acclaimed writer Diablo Cody (“Jennifer’s Body”) about a misunderstood teenager and her high school crush, who happens to be a handsome corpse. After a set of playfully horrific circumstances bring him back to life, the two embark on a murderous journey to find love, happiness… and a few missing body parts along the way.
J.P.’s Take:
“Lisa Frankenstein” has the feel of an ‘80s minimalist romantic / horror / comedy that harkens back to an era where big frizzed hair, bright neon colors, and teen angst were in the air. Had it been made back then, it would have certainly ridden the wave of successful films that kicked off that genre. I remember that point in time being an electrifying decade of fun music, fashion, toys, and imaginative filmmaking.
This 2024 film falls into a period where filmmakers said more with less, allowing the atmosphere to draw viewers in. There is a subtle vibe here where the comedy lands in moments of awkward silence, and angst ruminates a bit. Midway into this amusing romp, I realized this was part of its charm, which is more than I can say for its quirky state of affairs.
As to its nonsensical plot, there were pieces that I felt could have connected the dots concisely and cohesively. Where writer Diablo Cody (“Jennifer’s Body,” “Juno”) and first-time, feature-length director Zelda Williams (daughter of actor and comedian Robin Williams) could have taken advantage of an established sub-plot, they chose to run with the main story instead. What took center stage was the wild and slightly bloody adventure between teen Lisa Swallows (Kathryn Newton) and a young Victorian-era musician named The Creature (Cole Sprouse) on a quest for love. They could have at least given The Creature a name. Guided by Lisa, the two go on a murderous rampage for missing body parts to solidify his whole body as she attempts to create the perfect boyfriend.
Granted, this is a “coming-of-rage” romance / comedy with an understated horror tone. The murder of Lisa’s mother could have been a backstory they slipped in for good fun. That element would have sparked a guessing game of who murdered whom and for what reason.
Sprinkled about this crazy romantic tale are suggestive fem jokes that aren’t subtle. For instance, a scene where Lisa and The Creature are in her room chatting and in the closet, he finds a pleasure device and flails it about. Lisa chuckles and then tells him some people use that on other parts of their body not just their back, so you might not want to touch that. It goes on from there with more of the same type of jokes.
The cast kept things light but snappy, with era-appropriate lingo, costuming, and set pieces. Again, these elements are part of its charm and much to the point that it feels cultish even before it reaches that status. Some of the other cast members include Liza Soberano as Taffy Swallows, Lisa’s stepsister; Henry Eikenberry as Michael Trent; Joe Chrest as Dale Swallows, Lisa’s father; and Carla Gugino as Janet Swallows, Lisa’s narcissistic stepmother.
When it was over, I had a sentimental viewpoint of the characters and the quirky amorous blood shedding between a reanimated corpse and a deadpan emo teen girl.
“Lisa Frankenstein” is the genre-reviving, pop-corn flick that brings to mind ’80s classics like “Weird Science,” “My Demon Lover,” “Once Bitten,” and “Vampire’s Kiss.” Only this particular outing adds a teenage girl’s perspective to the mix, rightfully. I have a feeling this will soon catch on and grow on people over time.