Review: Lisa Frankenstein Is Far Better Than Box Office Returns Suggest

In a cinematic landscape littered with sequels and reboots, Lisa Frankenstein bursts onto the scene like a bolt of lightning to reanimate the rom-com genre with a deliciously dark twist.

Directed by Zelda Williams, daughter of the legendary comedian Robin Williams, in her feature debut, and penned by the ever-sharp Diablo Cody, the film combines terror and humor in the story of Lisa Swallows (Kathryn Newton), who finds an unexpected connection with a handsome corpse from the Victorian era, played with silent charisma by Cole Sprouse.

From its opening title sequence — an animated vignette of Sprouse's character dying and landing in Bachelor's Grove cemetery — Cody's script pulses with spooky charm and biting wit. We quickly learn that Lisa is a loner grappling with her mother's brutal ax murder. Her father, Dale (Joe Chrest), has remarried Janet (Carla Gugino), who thinks Lisa is crazy; through the marriage, Lisa has gained a popular, cheerleading stepsister named Taffy (Liza Soberano).

After being drugged and sexually assaulted at a party, Lisa goes to a cemetery she frequents when a flash of green lightning strikes a grave, resurrecting a young man as a lovesick zombie. The odd couple then embarks on a frenzied quest for love and corporeal completeness, making for a modern, macabre fairytale.
Cody's previous work, particularly 2009's Jennifer's Body, has established her as a formidable force in crafting narratives that blend horror and comedy, underscored by a keen insight into the complexities of society's expectations for women. Although Cody has playfully hinted at a connection between the two films during the press tour for Lisa Frankenstein, the linkage seems more thematic than direct. While both showcase Cody's distinctive voice and flair for blending the grotesque with the comedic, don't expect any cameos or lines explicitly referencing Jennifer's Body. Perhaps she's saving those for the sequel?

The film's aesthetic, a campy amalgam of ’80s nostalgia and classic horror, serves as a perfect backdrop to the narrative's exploration of such themes as isolation, revenge and the longing for connection. Its vibrant production design, reminiscent of a Hot Topic store, coupled with Meagan McLaughlin Luster's costume design, envelops the viewer in a world that is at once familiar and utterly fantastical.

Despite its ingenious blend of genres and a standout performance from Newton, Lisa Frankenstein has struggled at the box office, earning only $3.8 million on its opening weekend and failing to take the top spot against the inept spy film Argylle. Yet the film's financial performance belies its artistic achievements.

With nods to cinematic classics including Edward Scissorhands and The Rocky Horror Picture Show, Cody and Williams pay homage to the past while forging a fresh path that is entirely their own. Among the film's many delights are its clever one-liners and comedic set pieces. Meanwhile, the interplay between Newton and Sprouse is a testament to their acting prowess, with Sprouse's mute performance speaking volumes and Newton's evolving confidence anchoring the film's emotional core. Supporting performances, especially from Soberano as the well-meaning Taffy, add depth to the narrative by challenging the viewer's perceptions and eliciting empathy for characters who in lesser hands might have been relegated to mere caricatures.

Taffy's layered relationship with Lisa adds a fascinating contrast, revealing the nuances of familial bonds amid the unfolding chaos. Her stepsister is also the only one who tells Lisa the truth. In a particularly affecting scene, she calls out Lisa's behavior, saying she's acting out and doesn't care about others, "because your mom’s already been murdered.”

This brings us to an intriguing aspect of the film: Lisa Swallows is not always likable. Her journey, while framed within the context of revenge and empowerment, occasionally veers into morally ambiguous territory. Lisa's actions, particularly her treatment of Taffy and her relentless pursuit of vengeance, cast a shadow over her character, challenging the audience's ability to empathize with her and grapple with their perceptions of justice and retribution.

Cody skillfully navigates this moral quagmire, ensuring that Lisa's character remains compelling even when her choices raise eyebrows. The exploration of character dovetails into the film's climax, which, while somewhat predictable, does not detract from its emotional impact. By drawing heavily on the Frankenstein mythos and the trope of lovers against the world, it culminates in a way that feels both inevitable and satisfying.

For a debut director, Williams demonstrates a remarkable grasp of tone, balancing the film's gorier aspects with a lightness that invites the audience to revel in its absurdity. At one hour and 41 minutes, Lisa Frankenstein is a brisk, engaging watch that leaves a lasting impression, proving that creativity and originality can still thrive in the often formulaic world of Hollywood.