There’s something about a red carpet under stormy signage that just… clicks. Or crackles, maybe. Last night—October 13, 2025, to be precise—at the 69th BFI London Film Festival, Guillermo del Toro‘s long-awaited Frankenstein finally came alive in the U.K., and the premiere felt like a bolt from Mary Shelley’s own quill. Mia Goth, in that sheer lilac gown that whispered (or shouted) allure, stood there like a modern specter, her backless design plunging into risky territory, flashing just enough to remind us horror’s always got a seductive edge. Jacob Elordi, towering as ever at 6ft 5in, loomed beside her in an oversized double-breasted suit, quirky leather tie adding that oddball charm—he’s the Creature on screen, but here he was pure charisma, grillz glinting under the lights.
And Oscar Isaac? Dapper in black, neckerchief tying it all together, he embraced Elordi like old comrades—5ft 7in next to that height, it’s almost comical, but there’s a tenderness there that mirrors the film’s core tug-of-war between creator and created. The whole scene pulsed with that del Toro magic: grotesque beauty wrapped in elegance. Christoph Waltz debonair in grey velvet, Charles Dance channeling Game of Thrones gravitas in navy with a polka dot cravat, Felix Kammerer quirky in plaid and orange—everyone showed up not just dressed, but embodying the gothic swirl of Shelley’s tale.
I’ve chased horror across festivals from Sundance to Venice, and this one? It hits different. Del Toro’s been dreaming of this since he was seven, raised on Boris Karloff as a saint in his Catholic upbringing. No wonder the film’s a passion project—premiering at Venice back in August 2025, where it wowed with its operatic spectacle. Critics called it visually stunning, full of passion, Jacob Elordi stealing the show as the Creature with an emotionally nuanced turn that’s being hailed as performance of the year. Sure, some noted pacing hiccups, a bloated runtime that drags in spots—like the first 20 minutes feeling rocky before Elordi brings it to life. But the sets, the score by Alexandre Desplat (their third collab), the practical effects? Top-tier, handmade haunted beauty.
On X, the buzz was electric—pun intended. One viewer at LFF called it “decadent, gothic, and just the right amount of gruesome,” a love story wrapped in monster movie skin. Another praised Elordi’s empathetic standard-setter for the genre, though admitting it needed a second watch to fully absorb. Del Toro himself beamed in classic black, accessorized with a red winged figurine—his fondness for dark fantasy on full display. He hugged Elordi on arrival, the cast gathering like a family of misfits. Even the behind-the-scenes crew showed: prosthetic wizard Mike Hill, costume designer Kate Hawley, production whiz Tamara Deverell. And Desplat, that Oscar-winner, posing proud.
But let’s not gloss over the grit. This isn’t just another remake—del Toro’s version leans into Shelley’s themes of creation, destruction, empathy clashing with evil. Isaac’s Victor is mad, magnetic, cruel; Elordi’s Creature, fragile yet fierce, with a Yorkshire accent nod to David Bradley’s blind man character. It’s tender, tragic, a tug-of-war that feels both faithful and fresh. Grotesque? Yes. Beautiful? Absolutely. And with Netflix eyeing that elusive Best Picture Oscar, alongside other heavy-hitters, this could be their monster hit.
The red carpet photos capture it all—the glamour masking the gore to come. Goth’s chiffon draping her toned figure, diamonds sparkling like stolen stars; Elordi’s frame dominating, yet gracious with fan selfies. Isaac greeting Waltz with a beam—it’s these human moments that ground the fantasy. After Venice’s rave (Roger Ebert’s site called it a “breathtaking coup”), and TIFF echoes praising its vivid nightmares, LFF felt like the U.K. coronation.
Elordi joined late—nine weeks before shooting, after Andrew Garfield bowed out for scheduling. But he poured everything in: “The creature on screen is the purest form of myself.” That’s the del Toro touch—finding soul in the stitched-together. Mia Goth as Elizabeth Lavenza, caught in familial webs; Waltz funding the madness as Henrich Harlander. It’s a ensemble that breathes new life into over 200 years of adaptations, from Whale’s 1931 classic to Branagh’s ’94 De Niro vehicle.
Gorgeous. Grating in spots. Gorgeous again—that’s horror for you. Pacing might stumble, but the emotional impact? It lingers like a scar. With a limited theatrical run starting October 17, 2025, and Netflix drop on November 7, mark your calendars. This one’s for the dreamers… and the nightmares.
Why Frankenstein’s Premiere Electrified LFF
Del Toro’s Dream Realized Guillermo del Toro finally unleashes his boyhood obsession, crafting a gothic fairytale that’s as heartfelt as it is horrifying—visually ravishing, with practical effects that scream authenticity.
Elordi’s Breakthrough Creature Jacob Elordi transforms into the Monster with heartbreaking innocence and a Yorkshire twang, stealing scenes and setting a new bar for empathetic horror performances.
Cast Chemistry on Display From Mia Goth’s alluring presence to Oscar Isaac’s magnetic madness, the red carpet hugs and poses hinted at the tender creator-creature bond at the film’s core.
Festival Buzz and Flaws Venice and LFF reactions praise the exquisite design and score, but note sluggish pacing—still, it’s a passionate effort that demands a watch.
Release Hype Building Hitting theaters October 17 before Netflix on November 7, this adaptation could snag Netflix that Oscar, blending body horror with profound empathy.
FAQ
Is del Toro’s Frankenstein just another remake?
Not at all—it’s a faithful yet fresh take, infused with del Toro’s signature sympathy for monsters, turning Shelley’s novel into an operatic meditation on creation and cruelty. Flawed pacing aside, it’s more alive than most.
What makes Jacob Elordi’s performance stand out?
He channels raw vulnerability, morphing from mumbling grotesque to eloquent wonder, pouring his whole self in—it’s tender, physical, and arguably the film’s beating heart. A genre game-changer.
How does the film balance horror and emotion?
With grotesque beauty and heartfelt romance, it explores empathy amid destruction; gorgeous visuals clash with gory moments, but the creator-creature tug feels achingly human—del Toro’s touch shines through.
Will pacing issues ruin the experience?
They drag in spots, especially early on, but the artistry—sets, makeup, Desplat’s score—overpowers. Give it a second view; the emotional depth rewards patience.
Is this Netflix’s Oscar contender?
Potentially—pinned alongside other big titles, its passionate craft and standout turns position it well, though runtime bloat might divide voters. Still, del Toro’s vision screams contender.
