i need to talk about lisa frankenstein

a cult classic feminist horror-comedy was born i fear

Lisa Frankenstein, written by Diablo Cody, whose known for Jennifer’s Body and Juno, might have just become the new horror-comedy cult classic. The movie is campy enough to rival Rocky Horror, funny enough to in the very least match Jennifer’s Body and Juno (although I think it exceeds these films), and fresh enough to be both relevant today and built to endure.

The film is, in an age of low-exposure filters and dim lighting, bright and colorful. Not just visually—although the 80s house decor, fashion, hair, and makeup (including blue mascara) are vibrant. The dialogue and acting stitch the film together like the limbs of Frankenstein’s monster. The premise of the film itself is gothic yet slapstick-y (but not in an annoying way, more in a self-aware and ironic way).

Lisa, whose mother was killed by an axe murderer, often visits the grave of a random 19th century bachelor to cope. She tells him, “I wish I could be with you.”

The next night, his corpse breaks into Lisa’s stepmother’s house, which is adorned with pink carpet, turquoise walls, and cheesy shell lamps. Lisa forms a bond with her monster, who communicates with her purely in grunts, growls, nods, head shakes, and murmurs. She works as a seamstress as a part time job, and uses these skills to stitch him with spare body parts (I won’t reveal how these body parts are acquired) with colorful threads.

Lisa, played by Kathryn Newton, is decidedly not like other girls. She doesn’t fit in with her bubbly stepsister, a cheerleader, or her friends, and she likes alternative music and writing poetry. This aspect of her character, that is, her darkness, is the very reason why she is able to bring a corpse back to the (semi) living through several tanning bed electrocution sessions, making her monster (Cole Sprouse) more and more animate and healthy looking.

While her popular stepsister, Taffy, might be Lisa’s foil, the women aren’t pitted against each other as rivals. By the end, Lisa gives a heartfelt speech to Taffy thanking her for her kindness (however fake, over the top, and pick-me-girl esque it may be, an aspect of the movie’s comedic value).

As the movie progresses, it becomes more absurd and more hilarious. The stunning visuals create a gothic atmosphere, as when Lisa accidentally takes PCP at a party and wanders from a hallway into the graveyard, in a space half-house half-forest. In a dream Lisa has, she and the corpse are done up in the style of the first ever movie, A Trip to the Moon, in black and white, 19th century costume, and makeup creating the effect that they are drawn characters come to life.

Every costume, accessory, and visual detail is electric and bright, creating a fun and vibrant effect that perfectly matches the spirit of the movie. Simply put, and without revealing too much, this movie is FUN. There were only a handful of people in the theater, but all of us were laughing and even screaming at times. I haven’t had that much fun in a theater since Barbie. (But this tops Barbie in my opinion, especially when it comes to the snarky feminist lines and how men are consistently the butt of the joke).

My favorite line from the film is: “you like cool music and poetry, but you only like that stuff for you! You want to be with a simple girl.”

Although Lisa Frankenstein is a horror, it isn’t exactly creepy—even the somewhat disgusting scenes, such as the monster’s constant effusion of bugs and worms from his orifices (he is a corpse after all, don’t judge!)—render as absurdly funny rather than gross. They even serve as part of the campy aesthetics of the film.

I almost wish this movie had come out during Halloween season, but I’ll be watching it every year on October 31st, mark my words. I also expect to see Lisa and Frank as a popular couples costume.

In short, this film made me think oh, we are so back. Cinema is back, the gothic is back, campy fun horror is back. Terrorizing men is back!