Lisa Frankenstein

With the never ending franchise films and remakes aiming to get the masses back into theaters, it’s rare to see a big screen release that takes creative risks these days. Lisa Frankenstein came along just in time (on Superbowl weekend mind you) to offer something different for the disenfranchised moviegoer: A gothic, 80s-inspired coming-of-rage horror comedy in the vein of Weird Science, Heathers, and Edward Scissorhands.

Taking on the daunting task of bringing the undead tale to life is first-time feature film director Zelda Williams, daughter of the late great Robin Williams. It might be Zelda’s directorial debut, but her passion, encyclopedic knowledge of dark humor, and unmistakable synchronicity with Oscar-winning screenwriter Diablo Cody shines through. The film looks and feels like a love letter to the 80s with its synth-heavy soundtrack, brash set design, and hot pink and neon fashion.

It’s not to say that Lisa Frankenstein doesn’t have flaws. Perhaps the most glaring one is that it’s tonally inconsistent. With a blurring of genres, it sometimes struggles to meld disparate themes into one cohesive narrative.

But what it lacks in tonal clarity, it more than makes up for with its standout performances. Kathryn Newton is magnetic as Lisa, perfectly embodying the role of an angelic freak, a misunderstood teen who’s drawn to the macabre as a way to deal with the gruesome death of her mother. Helping her cope is the undead creature (played by Cole Sprouse), whose almost non-verbal portrayal contrasts with the acerbic Lisa. Also fully committing to the spirit of camp is Carla Gugino (Sin City), a leotard-wearing, overbearing stepmom who chews up the scenery with great relish.

That said, the breakout star of Lisa Frankenstein is Hollywood newcomer Liza Soberano, who plays Taffy, Lisa’s well-meaning stepsister. Liza single-handedly turns the ‘popular girl’ trope on its head by playing a sympathetic queen bee. With great comedic delivery, she seamlessly blends sweetness and irreverence into a refreshingly charming character.

Of course, there’s murder and some gore here, and Lisa Frankenstein isn’t going to be everyone’s cup of tea. But it doesn’t need to be. With its modest budget, it doesn’t have to make a killing at the box office. It just has to be weird and absurd enough to draw out the small yet vocal “cult classic” demographic, whose off kilter sense of humor and morbid curiosity can feel at home here.