FRANKENSTEIN MOVIES!
- 10 hours ago
- 10 min read
Well, if you know me at all, you know that I am a huge horror film fan. In fact, it’s my favorite genre. On this website and in previous blogs, I’ve already gone through my favorite werewolf movies and my favorite vampire movies.
So now it’s time, finally, to talk about my favorite Frankenstein movies, and I’m doing it in honor of the new Guillermo del Toro version of Frankenstein, which, let’s be honest here, is not good. In fact, it’s pretty bad.
Guillermo del Toro has somehow done the impossible: he’s taken Mary Shelley’s classic Gothic novel and turned it into a damn Marvel origin story. Very disappointing on every level.
Which is exactly why I think it’s a perfect time to go back and revisit some of the best Frankenstein movies ever made, the ones that understood what Shelley was actually writing about and didn’t try to turn it into a superhero cinematic universe audition reel.
Before I get into my list of my 15 favorite Frankenstein movies (listed in order of preference, of course), I want to talk a little about how we got here, because the story of Frankenstein is really the story of horror movies themselves.
Mary Shelley’s Frankenstein; or, The Modern Prometheus, written in 1818, is ground zero for modern horror. Everything we love about the genre (the fear of science gone wrong, the blurred line between life and death, the question of what it means to be human) started right there, on that dark and stormy night when Shelley dreamed up Victor Frankenstein and his unfortunate creation.
Since then, the tale has been adapted, reimagined, parodied, remixed, and mutated so many times that the name “Frankenstein” itself has become shorthand for “monster,” even though Frankenstein, of course, is the doctor. (The creature never gets a real name. Which is probably part of the tragedy.)
There have been Frankenstein movies in every decade since film began. Literally. The first adaptation came out in 1910, which was a silent, ten-minute version produced by Edison Studios that’s still surprisingly creepy and effective.
And since then, filmmakers have been obsessed with the idea of reanimating life, with the moral and emotional fallout of playing God. That theme (bringing the dead back to life) has been explored in so many ways that even when a movie isn’t technically about Frankenstein, it still feels like one. That’s how deep this story runs.
There are, of course, a ton of films that riff on Frankenstein without directly using the characters or the name.
Tim Burton’s Edward Scissorhands? Totally a Frankenstein story. Steven Spielberg’s A.I., also a modern take on artificial creation and rejection. Stuart Gordon’s Re-Animator? Practically Frankenstein with a wicked grin and gallons of green goo. There’s Depraved (2019), a gritty, modern spin on the tale, and, of course, Yorgos Lanthimos' brilliant Poor Things is a total Frankenstein-inspired story.
And yes, of course, The Rocky Horror Picture Show, which, despite its glitter and chaos, is absolutely a Frankenstein movie at its core.
I didn’t include those films in my list, because I wanted to focus on the ones that specifically deal with Shelley’s story, the doctor, the creature, or the direct lineage of that myth. But make no mistake, those movies belong to the Frankenstein family tree, weird cousins and all.
And there have been so many official or semi-official takes over the years: Victor Frankenstein (with James McAvoy and Daniel Radcliffe), I, Frankenstein (Aaron Eckhart, poor guy), Frankenstein’s Monster’s Monster, Frankenstein (yes, that’s really the title), The Bride with Sting and Jennifer Beals, Frankenstein’s Army, The Last Frankenstein, Van Helsing, Monster Squad, Gothic, Lisa Frankenstein, Frankenstein 80, Frankenstein Island, Horror of Frankenstein, Transylvania 6-5000... you name it, someone’s stitched it together.
Some are great, some are trash, and a few are that beautiful in-between kind of terrible that makes you love them anyway. Frankenstein is such a flexible myth that it can fit anywhere (from serious drama to slapstick comedy to kids’ cartoons) and still work.
It’s one of the richest, most durable pieces of storytelling ever created, and every generation finds a new way to make it relevant.
For me, the Frankenstein story has always hit a sweet spot between horror, tragedy, and science fiction. It’s terrifying, but it’s also sad. It’s philosophical and pulpy at the same time. It’s about loneliness and hubris and our own messed-up human need to control nature.
That’s why it never gets old. And that’s why, when done right, it’s powerful as hell.
Now, on this list of my 15 favorite Frankenstein movies, you’re going to notice something: there’s a lot of Hammer. The Hammer Studios out of England is one of my all-time favorite production houses.
Their Frankenstein films are, in my opinion, the best versions ever made. They’re bold, colorful, bloody, sexy, gothic, and alive in ways that Universal’s black-and-white classics never were. Don’t get me wrong, the Universal films are landmarks. But the Hammer versions? They’ve got fire.
They’ve got Peter Cushing, one of my heroes, and the man who, for my money, gave us the greatest Dr. Victor Frankenstein of all time. Cushing’s Frankenstein isn’t just a mad scientist, he’s a full-blown obsessive artist, a maniac, a genius, and a total bastard. And Hammer, as a studio, just knew how to make these stories feel dangerous and fun.
So yes, Hammer is well represented here. But you’ll also see a variety of eras, tones, and approaches. Some are straight horror, some are tragic, some are absurd, and some are just too weird to ignore. Together, they make up what I think are the greatest expressions of the Frankenstein story on film.
Frankenstein movies are great. They always have been. And with that, here are my top 15 Frankenstein movies, in order of preference. Let’s dig in.
MY 15 FAVORITE FRANKENSTEIN MOVIES (in order of preference):
The greatest Frankenstein movie ever made, and honestly one of the greatest movies ever made, period. Bride of Frankenstein is what happens when a horror sequel decides to outdo the original in every way, it's smarter, funnier, weirder, darker, and way more emotional.
James Whale takes the Gothic horror of the first film and turns it into this surreal, almost campy fever dream of religion, art, sexuality, and loneliness. Elsa Lanchester is iconic as both Mary Shelley (in that brilliant prologue) and the Bride, even though she’s only on screen for like five minutes.
Colin Clive gives his most tortured performance as Victor Frankenstein, and Karloff (my God, Karloff) he’s heartbreaking here. The Monster learns to speak, learns to feel, and learns, once again, that humanity is awful. It’s funny, poetic, and deeply sad all at once. If you only watch one Frankenstein movie in your life, make it this one.
The original, the classic, the one that started it all. James Whale’s first take on Mary Shelley’s story is still chilling, still haunting, and still strangely beautiful. It’s got that eerie, German Expressionist feel, the sets are incredible, and Karloff (with Jack Pierce’s legendary makeup) becomes an instant horror icon. Those sunken eyes, the square head, the bolts in the neck, this is the image that defines Frankenstein forever.
Colin Clive’s “It’s alive!” moment is still one of the greatest scenes in movie history. It’s not as stylish or subversive as Bride, but it’s the bedrock. Everything we love about Frankenstein (the tragedy, the arrogance, the monster’s pain) starts right here.
This is where Hammer came in and changed everything. The Curse of Frankenstein blew the dust off Universal’s Gothic castles and splashed them with color, blood, and moral depravity.
Peter Cushing’s Victor Frankenstein isn’t a tragic genius, instead he’s a cold, calculating, sociopathic bastard, and I love him for it. Christopher Lee plays the Creature in his own terrifying, grotesque way, and together they redefined the story for a new generation.
This is one of the great Hammer masterpieces: lush, nasty, and completely alive. It’s also one of my personal comfort horror films, and yes, I find comfort in Peter Cushing digging through corpses. What can I say? I’m me.
Hammer’s sequel picks up right where Curse left off, with Frankenstein surviving the guillotine and starting a new round of twisted experiments. Again, Cushing is phenomenal, and this is maybe his most complex take on the character. He’s refined, intelligent, but still completely amoral.
What I love about these Hammer movies is how they actually follow Victor Frankenstein as a continuing character, which you don’t see that much in horror franchises. Revenge feels elegant and evil at the same time, like a classy Victorian nightmare.
Now we’re getting into the weird Hammer stuff... and I love the weird Hammer stuff. This one’s got everything: murder, revenge, soul transference, and a gender-swapped reanimation story that’s way more philosophical than it has any right to be.
Cushing’s Frankenstein actually tries to trap a man’s soul in a woman’s body, which raises a ton of strange and fascinating questions. It’s bizarre, tragic, and surprisingly moving. Only Hammer could make a film this lurid and still make you think about the nature of the soul.
Look, Young Frankenstein is perfect. It’s not just one of the funniest movies ever made, it’s also one of the most loving tributes to classic horror ever filmed. Mel Brooks and Gene Wilder created a parody that feels like a genuine Universal horror movie, right down to the original lab equipment.
The cinematography, the tone, the performances, it’s all spot-on. And every line is quotable: “Put… the candle… back.” “What knockers!” “It could work!” and of course, my favorite line: "SEDAGIVE!!??!"
It’s a miracle of comic timing and horror geek affection. It’s also one of the few comedies that I genuinely never get tired of. A masterpiece.
This is probably the nastiest Hammer Frankenstein movie, and that’s saying something. Cushing is back, and he’s in full monster mode here. There’s no humanity left in Victor; he’s pure cold ambition.
The movie gets dark, I mean uncomfortably dark, but that’s part of what makes it so unforgettable. It’s shot beautifully, the pacing is tight, and the ending is brutal. This is the one where Hammer really leaned into the horror of Frankenstein himself, not just his creation.
Oh, the glorious monster mash. This was the first real crossover event in horror, it's the Avengers: Endgame of the 1940s, except actually good.
Lon Chaney Jr. returns as the tortured Larry Talbot, and Bela Lugosi (yes, Dracula himself) plays Frankenstein’s monster.
It’s wild, uneven, and totally delightful. The gothic sets, the full-moon transformations, the monster-on-monster action, this is the kind of pulp horror that makes me grin from ear to ear. When I was a kid, I worshiped this movie, and I still kinda do. Plus, it paved the way for all those crazy Universal team-ups that came later.
The last of Hammer’s Frankenstein series, and a surprisingly strong finale. Cushing looks older and more haunted here, and the film itself feels melancholy and reflective, like Hammer knew it was the end of an era.
David Prowse (yes, Darth Vader himself) plays the monster, and while the movie isn’t as flashy as earlier entries, it’s grim, gritty, and full of that unmistakable Hammer atmosphere. It’s a fitting, dignified farewell to the series.
Now here’s a weird one. Roger Corman directing a sci-fi time travel version of Frankenstein starring John Hurt, Bridget Fonda, and Raul Julia as Victor Frankenstein. Yeah, it’s nuts, and it's absolutely brilliant.
The idea (a modern scientist from the future meeting Mary Shelley’s Frankenstein) is actually fascinating, and while the movie’s a bit clunky, it’s also great in that late-80s, early-90s, cable-TV-at-2AM way. I have a soft spot for this one. It’s ambitious and earnest, even when it’s totally ridiculous.
Comedy meets classic horror, and somehow it works perfectly. This movie shouldn’t work (it’s a goofy farce) but it ends up being one of Universal’s best monster flicks.
Lugosi returns as Dracula, Lon Chaney Jr. as the Wolf Man, and Glenn Strange as Frankenstein’s monster, and they all play it straight, which makes Abbott and Costello’s reactions even funnier.
The timing, the effects, the balance of scares and laughs, it’s all top-notch. Honestly, this is the best “shared universe” movie Universal ever made. Fun fact: this is the most requested movie title in the history of the Svengoolie show.
A giant Frankenstein monster fighting kaiju in Japan. Yes, that’s a real thing, and yes, it’s awesome. Toho Studios (the same folks behind Godzilla) decided to give Frankenstein the monster treatment, and the result is pure Saturday matinee joy.
The creature design is insane, the miniatures are fantastic, and it’s one of the most entertainingly weird mash-ups in monster movie history. Frankenstein fighting Baragon? I’m in every time.
Ah, 70s blaxploitation horror. Blackenstein is terrible, but it’s gloriously terrible. Made to cash in on the success of Blacula, it’s cheap, slow, and full of awkward acting.
It’s also got a ton of charm, atmosphere, and that low-budget drive-in weirdness that I absolutely adore. It’s bad, but in that “grab a beer and laugh with your friends” kind of way.
And it deserves a spot just for its sheer audacity.
Also known as Andy Warhol’s Frankenstein, though Warhol barely had anything to do with it. This movie is pure sleaze, and I say that lovingly.
Directed by Paul Morrissey and starring Udo Kier in one of the most gloriously over-the-top performances in horror history, it’s violent, sexual, and completely unhinged.
The 3D version is insane, the dialogue is bonkers, and Kier’s delivery of “To know death, Otto, you have to fuck life in the gall bladder!” is maybe the most deranged thing ever put on film. It’s art. Trashy, glorious art.
And we close with Frankenhooker, which is exactly what it sounds like, and somehow, it’s awesome. Frank Henenlotter, the twisted genius behind Basket Case and Brain Damage, gives us a sleazy, hilarious, and surprisingly sweet take on the Frankenstein myth.
A nerdy guy reanimates his girlfriend using parts from exploded sex workers, and it’s grotesque, absurd, and weirdly touching. “Wanna date?” “Got any money?” It’s all part of the glorious insanity that makes this movie so damn fun.
The perfect way to end this list: with something that’s completely inappropriate, totally unique, and 100% alive.
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