Guillermo del Toro’s Frankenstein arrives with the inevitability of myth. Few contemporary filmmakers are as attuned to the poetry of monsters, and fewer still have built an oeuvre so devoted to the wounded, the wondrous, and the lonely. From Pan’s Labyrinth to The Shape of Water, del Toro has repeatedly crafted worlds where the grotesque becomes tender and the inhuman becomes a mirror. In many ways, Frankenstein should have been his ultimate expression. And yet, despite moments of breathtaking beauty, the film feels curiously unmoored from the gothic, romantic, and macabre heart of Mary Shelley’s novel.
Oscar Isaac delivers a volatile, almost venomous Victor Frankenstein — a man whose brilliance curdles into arrogance long before his creation opens its eyes. His performance pushes Victor into deliberately detestable territory, stripping away any lingering ambiguity and recasting him as a man driven less by intellectual yearning and more by a narcissistic hunger to be remembered. It is a bold interpretation, if not entirely a sympathetic one. Mia Goth, by contrast, seems misaligned with the film’s emotional wavelength; her Elizabeth feels spectral not in a tragic, Shelleyan sense, but in a way that leaves her displaced, as though the world around her was calibrated to a frequency she cannot quite inhabit.
Visually, however, Frankenstein is nothing short of sumptuous. Del Toro orchestrates frames that glow with painterly chiaroscuro — all bruise-blue moonlight, cathedral shadows, and the soft, funereal glow of candlelit laboratories. The creature’s awakening is a moment of pure cinema, a fusion of tactile prosthetics and operatic staging that reminds us why del Toro remains one of the most distinct visual fantasists working today. His fascination with the act of creation — as miracle, as violation — pulses through every coil of wire and stitched sinew.
But it is precisely here that the film begins to diverge from Shelley’s vision. Del Toro embellishes the narrative with new mythologies, symbolic digressions, and philosophical asides that, while intriguing, often pull the story away from its emotional core. Shelley’s novel is a haunting meditation on responsibility and alienation, its tragedy rooted in the fragile bond between creator and creation. Del Toro’s additions, though imaginative, diffuse this intimacy. The more the film expands outward — into backstory, lore, and ornate world-building — the further it drifts from the stark, romantic terror that makes Frankenstein endure.
This impulse is not new in del Toro’s cinema. His career is defined by a tension between narrative simplicity and imaginative excess. His greatest works embrace that balance: the aching solitude of The Devil’s Backbone, the fairy-tale fatalism of Pan’s Labyrinth, the delicate monstrosity of The Shape of Water. In Frankenstein, however, the scales tip slightly too far toward embellishment. The result is a film that is still enthralling to behold, but one that sometimes mutates the story so much that its thematic marrow — creation as curse, loneliness as inheritance — becomes diluted.
Still, even when it falters, del Toro’s Frankenstein contains moments of exquisite power: the creature standing beneath a storm-lit sky, grappling with consciousness; Victor, trembling not with triumph but with the first stirrings of dread; the quiet spaces where the monster reaches toward a world that will not reach back. These sequences remind us of what del Toro understands so deeply — that monsters are never the true horrors, but rather reflections of what humanity refuses to confront.
The Prognosis:
Frankenstein may not be the definitive adaptation its pedigree suggests. But as a work of del Toro’s imagination — a meditation on creation, isolation, and the fantastical — it is still compelling, still resonant, and still marked by the unmistakable touch of a filmmaker who has spent his career searching for beauty in the broken.
One could argue that no one has crafted such an impact on the horror genre nor weaved a unique style into the fold than Italian Maestro, Dario Argento. Director Simone Scafidi attempts to fashion a visual insight into the auteur’s life and work through a series of archival footage and mixture of interviews from industry admirers such as Guilermo Del Toro; Nicholas Winding Refn, and Gasper Noe; long-time collaborators, Michele Soavi and Lamberto Bava; and family members such as his sister Floriana and daughters Asia and Fiore. All of whom offer their own take on what made Argento such a remarkable talent. That’s not to say that Scafidi isn’t willing to look deeper into Argento’s character, skirting around some of the less than desirable attributes that can be carried by gifted and driven disposition. It’s an area that sparks the potential to venture into the lengths that an individual may go to in order to create their vision. This issue is that Scafidi merely dangles this observation before the viewer, little willing to venture below the surface of Argento’s veneer.
That being said, there is plenty to stoke the fire of creativity on show, and Dario Argento Panico produces a window into a remarkable career, including moments with the man himself, talking through his own observations and reasonings across a multitude of highs and lows, starting with his impactful beginnings and the animal trilogy, The Bird With The Crystal Plumage; The Cat O’Nine Tails; and Four Flies on Grey Velvet, including the Three Mothers trilogy, Suspiria, Inferno, and The Mother of Tears. Just the tip of the iceberg, but one that we can gracefully skate across an absorbing collection of works.
The Prognosis:
Dario Argento Panico is a documentary that testifies to the remarkable talent that the director has provided in the celluloid world. It will no doubt grip cinephiles and fans of Argento’s work, but there is lost potential here, where the director is all too willing to skim the surface, neglecting the urge to cut deeper into the character, and the balance between greatness and the sacrifice one makes to achieve high standards, damning all that may fall between. There are moments that Scafidi dalliances with the heart of an auteur and one can only wonder how far he would have pushed the knife, to cut open and dissect the things that maketh the man.
Saul Muerte
Dario Argento Panico is currently streaming on Shudder.
100 years ago the Roaring Twenties came into effect with a social and economic boom that pushed the boundaries of experimentation and exploration dubbing it the crazy years.
Cinema has evolved greatly during this time and spawned Robert Miene’s silent horror in German Expressionism, which is still considered a classic among some critics.
While the tides have shifted and the boundaries of what is classified as horror has twisted through the years, moving numerous debates and discussions along the way, we come to a time when originality can be hard to come by, or perhaps the audience has become too critical and our perceptions have changed.
Can the films of today cause a deeper development in the genre that we’ve come to love and like the films that were born a century ago stir the insanity again and break new ground in the process?
Let’s look at what 2020 has in store and see if indeed it will deliver.
This film has led some early reports to compare it to Alien but in the ocean deep instead of the far reaches of space. It does boast Kristen Stewart in the cast who may divide audiences and has been a bit hit and miss of late in her film choices but she is supported in this instance by Vincent Cassel, who is known for choosing experimental films. Does this then mean that this team of underwater researchers will uncover not only a few beasties but also break new ground in the process?
Prediction: Neither sink or swim. A drifter that will entertain some but not cast anything new into the cinematic landscape.
Jan 24 – The Turning
Based on Henry James novel, The Turn of the Screw and produced by Steven Spielberg, it stars Mackenzie Davis (Terminator: Dark Fate) and Finn “Can my hair grow any longer?” Wolfhard (Stranger Things) and bears close scrutiny as director Mike Flanagan (Doctor Sleep) is set to release an interpretation of the novel in Netflix series, The Haunting of Bly Manor, his follow up to the successful The Haunting of Hill House.
Prediction: Director Floria Sigismondi will no doubt bring some artistic visual flair that is evidence from her music videos, but could possibly fall foul of “popcorn syndrome” – Light, fluffy with a bit of crunch and serves the masses, but ultimately has no substance.
Initially I was really excited about this release, being a fan of the Ju On franchise, plus Nicolas Pesce’s work with The Eyes of My Mother, and Piercing. Both movies have pushed the boundaries of comfort and shot in stylistic fashion that I was keen to see where Pesce would take The Grudge. Early reports haven’t been favourable however, so it could be another disappointment in the first month of the new decade.
Prediction: Could be another franchise instalment too many. The name alone will pull in the numbers, yet may not hit the mark on the scare front.
Jan 31 – Gretel and Hansel
It’s been over 200 years since The Brothers Grimm fashioned the fairy tale about a cannibalistic witch that kidnaps two children roaming in the woods. The fact that it is still resonates today is a testament to the strength of the storytelling and it will be interesting to see the story told from the perspective of Gretel played by Sophia Lillis (IT) who has already proved compelling as the young Beverly Marsh.
Prediction: Better than your average fair without necessarily offering anything new or compelling with the horror genre.
Some may argue its place in this list, but it is billed as a psychological horror and director Robert Eggers has already made a name for himself in the artistic expressionism world within the genre with his debut feature, The VVitch, a film that also divided audiences. American audiences have already seen the movie too as it was released there last year, but as yet Australian audiences are still to see Eggers’ sophomore outing which pits Willem Defoe and Robert Pattinson against one another in a battle of wills and sanity in a remote and confined island.
Prediction: Will wow audiences looking for the alternative and alienate those more into the mainstream. Either way, both audiences will applaud the performances and Eggers and cinematographer Jarin Blaschke will paint a stunningly beautiful canvas.
Feb 13 – Fantasy Island
Blumhouse Productions are about to shake things up again by breathing new life into a cult 70s tv series. With a star-studded cast – Michael Pena (Crash), Maggie Q (Nikita), Lucy Hale (Pretty Little Liars), and Michael Rooker (Henry: Portrait of a Serial Killer). On an island where your fantasies come true, only to turn into nightmares and the guests must figure out its mystery in order to survive.
Prediction: Another success for Jason Blum and the team which will connect with the cinema-going public. If it’s played right, it could offer a fresh take using a blend of fantasy and horror that could also spark a franchise
Feb 21 – Brahms: The Boy ll
This one is a bit of an oddity. Whilst its predecessor was a middle of the road affair and proved to be better than expected. It did feel like a one-off movie that didn’t necessarily warrant any further journey into the world of Brahms. A sequel is here though and will pick up with the doll being discovered by another family.
Prediction: A flop that will fall by the wayside and may not even make a blip on the radar.
Feb 27 – The Invisible Man
Another Blumhouse movie, this time in collaboration with Universal to resurrect their monsters franchise after the abysmal Tom Cruise vehicle from a few years ago. In what is potentially a ripe and current topic being explored in domestic violence as its central theme The Invisible Man boasts a cracking cast with Elisabeth Moss taking lead duties. It’s also in great hands with director Leigh Whannel steering the ship following his successful movie Upgrade from last year, plus Whannel is a storyteller, so expect a decent script to boot.
Prediction: The first big success of the year bringing the Universal monsters franchise back on track and paving the way for future projects with The Bride, Renfeld, The Invisible Woman, and Frankenstein.
Mar 20 – A Quiet Place Part 2
The question is whether director John Krasiniski can repeat the winning formula from the first movie. This War of the Worlds style feature with an audio twist is more sci-fi than horror, but with the family in plight scenario held a strong connection with the audience. How will this translate now that there is an absent father?
Prediction: Cillian Murphy will provide some much needed gravitas to the narrative which will be strong enough to lift the audience through with some decent ups and downs to wrench up the tension.
Apr 3 – The New Mutants
Since Disney took over Marvel operations, The New Mutants has been stuck in production, deemed a little dark for the House of Mouse questioning how to distribute it. The feature comes across as The Dream Warriors crossed with the X-Men and centres on 5 young mutants held in a secret facility against their will. It also boasts a cracking cast with Maisie Williams (Game of Thrones), Anya Taylor-Joy (The VVitch, Split), and Charlie Heaton (Stranger Things).
Prediction: Despite several delays I feel that this film is gonna connect in a big way and pull in a lot of people. It just depends on how dark Disney are willing to go with it.
Apr 17 – Antlers
Little is known about this movie other than it is based on a short story by Nick Antosca the creative mind behind the Channel Zero anthology series. The screenplay must have some potential to have caught the eye of Guillermo Del Toro and put his name down as producer.
Prediction: With Keri Russell in the cast to provide the fantasy elements in reality, this could well be the surprise hit of the year.
May 15 – Saw reboot
Currently titled The Organ Donor starring Chris Rock, Samuel L. Jackson and Max Minghella this reboot of the Saw franchise will see the return of the Jigsaw Killer, but without Tobin Bell… I think? With director Darren Lynn Bousman at the helm once more following his turn overseeing parts 2-4, he is no stranger to the world.
Prediction: Will put bums on seats for the shock gore factor alone, but will the buddy cop drama approach pay off? Time will tell.
Jun 11 – Candyman
This is gonna be a tough one to watch for me as I am such a huge fan of the original movie and like Freddy, Candyman would haunt my dreams for a long time after viewing. A lot of that has to do with the strength of Clive Barker’s short story coupled with Tony Todd’s personification of the titular character. Part of me is willing for this to be a success though as I can see room for the movie to be delivered to a modern audience using folklore and mythology at its core, and the storyline itself can transcend easily through the ages. It will be interesting to see a female perspective in director Nia DaCosta to follow Helen’s journalistic investigations.
Prediction: Jordan Peele has attached his name to this project and is clearly passionate about the story, but one can’t help but feel this is one step too far in rekindling the old flame that resides within the Candyman story.
Jul 2 – Ghostbuster: Afterlife
I know it’s technically not a horror film, but I’m including this in the mix for its nostalgic value in me the original movie paved the love of horror that I have and opened the door to many more glorious visions in the genre ever since. The original team will return in some shape or form, but primarily the film centres around a mother and her two children who set up on a farm only to discover something paranormal lurking in the town.
Prediction: Another film that will be resting on the merits of the first film, and while it’s great to see Jason Reitman take on the franchise following in his father’s footsteps, one can only hope that there will be enough comedy, horror and sci-fi to capture that old magic, but I think it will just be a glimmer rather than that sparkle.
Jul 10 – The Purge 5
Supposedly returning for the final instalment the 12 hour no holds-barred, crimefest ignited something in the movie-going audience. It has seen five feature length instalments and 2 seasons.
Prediction: More of the same, so if you’re a fan of the series, you’ll love it. I for one think the films are fun and enjoyable and it will be interesting to see how James DiMonaco will conclude things.
Jul 30 – Morbius
Sony has promised to take the Marvel universe into dark territory before with Venom and here they intend to do so again with Morbius, the Living Vampire. Jared Leto will no doubt bring the goods for the titular role and is in good company with Matt Smith, Jared Leto, and Tyrese Gibson.
Prediction: Director Daniel Espinosa provides great entertaining and solid movies, such as Safe House and Life, and I see no change here to his formula, but still question if they can go dark enough to make it compelling for horror fans.
Sep 11 – The Conjuring 3 aka The Conjuring: The Devil Made Me Do It
The Conjuring universe has progressed in leaps and bounds since its initial release in 2013. There has been the odd blips, but essentially the films continue to entertain and scare audiences. This latest film will once again see the Warrens at the centre of proceedings, this time with one of their most publicised cases that bore witness to Arne Cheyenne Johnson claiming that he was possessed when he murdered.
Prediction: Solid acting, tight storyline, but may fall down with its delivery and exposition. Unfortunately Director Michael Chaves didn’t deliver with The Curse of La Llorona, so I fear that this may end up in a similar way, but am still willing to give it a chance.
Sep 17 – Last Night In Soho
Not much known about this one, but Edgar Wright has a knack for tapping the pulse of classic films and adapting their essence for a modern audience. This time around the psychological horror is inspired by Don’t Look Now and Polanski’s Repulsion both high in my all-time favourite lists
Prediction: A killer cast in Anya Taylor-Joy, Matt Smith, Diana Rigg, and Terence Stamp, this could be the ‘big hit’ of the year.
Oct 15 – Halloween Kills
In 2018, David Gordon Green, Danny McBride and Jason Blum attempted the impossible, the resurrection of Michael Myers that would connect both fans of the original and connect with a new audience. By delving into the subject of trauma and the impact that this has on its victims, Myers became both topical and harrowing. His sheer brutality and the force in which he attacks his victims made his carnage all the more disturbing.
Prediction: The name and sheer presence of Myers will bring the audience to the screens, but can they still make him relevant? They can’t rest on the nostalgic nods this time around. It’s a fine line to walk on, for if they get it wrong, they could find their final instalment, Halloween Ends a tricky sell.
TBC – Army of the Dead
For sheer shits and giggles, and action-pumped mayhem from visual storyteller Zack Snyder, about a group of mercenaries who decide to rob a casino during a zombie outbreak, this film concludes our list.
Prediction: Starring Dave Bautista, Army of the Dead will be entertaining if nothing else. A perfect answer for those just wanting to get their kicks and not have to think too deeply.
Maybe it’s because I just saw Stranger Things and coming down from an IT high, but this film just seemed to miss the mark for me. Scary Stories to Tell in the Dark follows the old folk tales we have heard before but great to see it get a filmic depiction of the cartoon series I remember as a kid called Freaky Stories, which I heard from a friend of a friend of mine was very enjoyable with little twisted tales like the woman had spiders in her beehive hair doo. This movie emulates these old folk tales with the fantastical contribution of monsters designed by Guillermo del Toro.
It felt as though this style would work better as a Netflix or Stan episodic series as elements didn’t know where they wanted to be. It definitely felt half-baked like they were still mixing the ingredients together.
Scary Stories to Tell in the Dark follows a group of kids living in the suburbs of USA in the mid 1960’s, while breaking and entering an old mansion they steal a book from a dead girl that causes all manner of spookiness to ensue.
Scary stories are written in the book as they appear to devour those who were there when the book was taken. Mischievous hijinks abound.
The Diagnosis:
The monsters were great but with a half-baked ensemble from the get go. It was difficult to get hooked. Take two episodes of Stranger Things with a glass of IT twice a day to wash out the taste.
Dr. Richard Lovegrove and Anesthesiologist Kelsi Williams
Surgeons of Horror 