Netflix's 'Frankenstein' (2025) Breaks Del Toro Audience Record Amid Hollywood Remake Debate

When Guillermo del Toro unveiled his long-gestating adaptation of Frankenstein in theaters on October 17, 2025, audiences didn’t just see a monster—they saw the ghost of Hollywood’s creative caution. The film, released globally on Netflix on November 7, 2025, stars Oscar Isaac as Victor Frankenstein and Jacob Elordi as the Creature, with Mia Goth and Christoph Waltz anchoring the supporting cast. What began as a Universal Pictures project in 2015, shelved when the studio pivoted to its failed Dark Universe, was resurrected by Netflix after del Toro signed a multi-year deal in 2023. The twist? Andrew Garfield, originally cast as the Creature, exited due to scheduling conflicts from the 2023 SAG-AFTRA strikes—forcing del Toro to scrap nine months of design work and rebuild the monster from scratch in just nine weeks.

From Sketch to Screen: A Monster Reborn

The Creature’s look wasn’t just a design choice—it was a labor of grief and obsession. Del Toro, who calls this his “dream project,” drew heavy inspiration from the haunting illustrations of late comic artist Bernie Wrightson (1948–2017), whose 1983 illustrated edition of Shelley’s novel became the visual bible for the film. Wrightson’s ink-drenched, skeletal figures haunted del Toro’s storyboards even after his death. But when Elordi—taller and more angular than Garfield—took over, every joint, every scar, every shadow had to be reimagined. The result? A Creature that moves like a wounded god, his limbs too long, his skin stretched thin over bone, his eyes holding centuries of betrayal.

Filming spanned from February to September 2024, mostly in Prague and the UK, with sets built to mirror the Gothic weight of 19th-century laboratories and snow-choked alpine ruins. Del Toro didn’t just direct—he sculpted. He had actors wear prosthetics for 14-hour days. He insisted on practical effects over CGI wherever possible. The lab where Victor stitches his creation together? Built from real copper pipes, rusted iron, and salvaged medical tools from 1800s European hospitals. The smell, one crew member said, “was like a morgue that had been left in the rain.”

Audiences Love It. Critics Are Divided.

Here’s the odd part: Frankenstein has set a new Rotten Tomatoes audience score record for del Toro—even though the film’s critics’ score sits at 68%. The audience reaction? Nearly 90%. Why? Because this isn’t a horror movie. It’s a tragedy dressed in velvet and lightning. Victor Frankenstein isn’t a mad scientist—he’s a man who can’t accept loss. The Creature isn’t a killer—he’s a child abandoned by his father. And when Victor tries to kill him in the third act? It’s not rage. It’s despair. The film stretches over decades, tracking their mutual destruction with the patience of a funeral dirge.

But not everyone’s moved. ScreenRant called it “an emotionally distant and literal adaptation,” arguing that “it feels like a journey longer than it needs to be.” They’re right—the runtime clocks in at 158 minutes. There are long, silent scenes of the Creature wandering through forests, or sitting by a frozen river, staring at his reflection. Some viewers found it meditative. Others, maddening. But here’s the thing: del Toro never wanted to scare you. He wanted you to weep.

Oscars on the Horizon

Despite the mixed reviews, the industry is already whispering Oscar nominations. ScreenRant predicts locks in production design, costume design, makeup and hairstyling, visual effects, and cinematography—and they’re probably right. The Creature’s skin alone took 47 layers of silicone, hand-painted with veins that glowed faintly under moonlight. The lab’s machinery? Built from period-correct blueprints, then aged with acid and salt spray. The snow in the final scenes? Real, from the Austrian Alps, shipped in by truck. No green screens. No digital snow.

Christoph Waltz, playing a chillingly calm scientist who observes Victor’s descent, told reporters: “This isn’t about science. It’s about what happens when you refuse to let go of the dead.” Mia Goth, as Victor’s sister, delivers a performance so quiet it’s devastating. Her final scene—holding a locket with her mother’s portrait as the Creature watches from the window—is already being called the year’s most haunting moment.

Why This Matters Beyond the Screen

Frankenstein is more than a movie. It’s a symptom. Hollywood, terrified of original ideas that might not break even, keeps recycling classics. Del Toro’s film isn’t the first remake of Shelley’s novel—but it’s the first one made by someone who actually understands its soul. While studios pour millions into sequels to superhero franchises, del Toro spent five years on a project no one asked for. Netflix backed him anyway. And audiences showed up.

It’s a quiet rebellion. A reminder that stories about grief, loneliness, and the cost of playing god still resonate. Especially now. In a world where AI clones voices and deepfakes replace truth, Frankenstein asks: What happens when we build something we can’t control—and then refuse to take responsibility?

What’s Next for Del Toro?

Del Toro has already hinted at a companion piece: a short film exploring the Creature’s perspective, told entirely without dialogue. He’s also in talks to adapt another Shelley work—The Last Man—though nothing’s confirmed. For now, he’s quiet. He’s said he won’t speak about the film again until the Oscars. But if it wins even one technical award, it’ll be a victory for patience, artistry, and the stubborn belief that some stories deserve to be told slowly.