Mia Goth Archives - Screen Wolf

The passion of Monsters

The movie lands in two key ways: The fantastic visuals and how engaging the two primary characters are (Frankenstein and his monster). That’s not to say there aren’t issues, but these are somewhat minor. Specifically the length and what the film does with that time. By far the best part of the film is “The Monster’s story” which is the final hour of the film. I wouldn’t change a thing in this section. But the first hour and a half is where the movie drags a little and where the focus could have been better. We see a Young Victor’s upbringing and arrangement with arms dealer Henrich that funds his research. While none of it is without purpose or merit, I can’t help but feel we didn’t need quite as much of it.

On the other hand, I could do with a bit more of Mia Goth’s Elizabeth. She is a truly pivotal character. Despite being engaged to Victor’s brother, both he and his monster fall in love with her. Yet, she didn’t feel as real as either of them. The result is everyone’s obsession with her feels artificial. I would have preferred less time spent on Frankenstein’s benefactor and father and more on Elizabeth. This could probably have been achieved just by editing out some of the clutter. That said it’s not a deal breaker. Cutting screen time from actors of Charles Dance and Christoph Waltz caliber, is admittedly a tough ask!

The True Visionary

It comes as no surprise that Del Toro provides has provided Frankentein with stunning and beautifully Gothic visuals. This is his raison d’être. This is the one thing you can pretty solidly rely on from the director and the reason he is referred to as a “Visionary”. The cinematography, the sets, the costumes and the Monster’s design itself are all works of art. There are references to the Universal classics but at the same time the style is very much Del Toro. Full of his favored blacks and reds, with ultra wide angle lenses and every shot full of Gothic majesty. It is at this point exactly what you expect from a Del Toro movie. For many it is the reason they watch them. That said, where the director was forced to use CGI here, the visuals suffer a little. The positives outweigh the negatives, but on occasions things feel a little too unreal.

For me, the story is often the weaker part of a Del Toro movie, but here he makes two key decisions that bring everything together. One is the focus on humanizing the Monster (Not a new take, but done to very well). The second is updating the setting by about 50 years. That is something Mary Shelly didn’t have the option of. She wrote the novel in 1818 and set it around the 1790’s. The classic Universal 1930’s adaptation was set around the turn of the 20th century. Del Toro meanwhile sets his film in the 1850’s during the Crimean War, a war that was still decades in the future when the novel was written. Del Toro picked the perfect setting. A feat he also achieved in Pinocchio by moving the setting about the same amount (50 years) setting it during the rise of Mussolini.

Conclusion

Overall, this is an excellent movie. Not perfect, but very few films are. It is probably Del Toro’s best work. The visuals are stunning and the character story is compelling. Frankenstein always was a compelling story, but not every version really drives home the emotion of the story. This does and in my view it is the best version of the tale. Previously I’d have given that to Bride of Frankenstein, which is effectively the “Monster’s Story” part of this film. The two parts of this movie do actually play out largely like watching the original two Universal movies. I can’t help but feel that is deliberate. I highly recommend this movie, it just about gets a super rare 8/10 from me.

For today’s review I’m looking at the 2023 movie “Infinity Pool”, staring the underappreciated Alexander Skarsgård (Most recently staring in one of the best movies and yet biggest flops of last year “The Northman”) and rising horror starlet Mia Goth (Who hit a double whammy last year with “X” and it’s prequel “Pearl”). The movie is written and directed by Brandon Cronenberg, son of David Cronenberg. This is his second feature film after 2020’s “Possessor”, which I haven’t had the pleasure of seeing yet, but much like this film it sounds very much like something that could have been made by his father. So let’s find out if the apple falls far from the tree!

Under The Sun.

Our movie starts with obscure novelist James Foster (Skarsgård) and his rich wife “Em” (Played by Cleopatra Coleman) spending time at a resort in the fictional island of Li Tolqa, which appears to be, at least on the surface, some form of Banana Republic. Despite claiming no one has read his book, one of the fellow tourists, “Gabi” (Goth) claims to be a fan. She invites the pair to join her and her husband “Alban” (Jalil Lespert) to spend time with them and despite warnings that they should not stray from within the resorts walls, they decide to spend the next day driving in the countryside.

After an evening on the beach drinking heavily, James drives the group home and accidentally runs over one of the locals. The group panic and return to the hotel hoping it will go unnoticed, but the local police turn up the next morning and haul James away. It turns out the justice system in Li Tolqa is swift and harsh, with James condemned to be executed by the eldest son of the man he ran over.

Killing Yourself to Live.

However, this is where the film introduces some science fiction elements. It turns out for a hefty fee (Presumably paid for by his wife) they will create a fully grown clone of him, including his memories and kill that instead. Confused, but desperate he agrees. On return to the hotel James finds his passport missing and so must remain at the resort while this is sorted out. His wife however heads off.

Stuck on the island, James finds himself falling in with Gabi and her nihilist friends, a spoiled, dangerous group of people who seem to get their kicks from tormenting others and abusing the islands legal system and it’s loophole for the rich. This isn’t a spoiler review, so I’ll stop there with the plot. Suffice to say this is going to be a life changing experience for the man.

Tomorrow’s Dream.

Probably the main thing David Cronenberg is known for is using body horror as a study on humanity. The focus has never really been on the plausibility of the situations since they largely exist as a sort of metaphor anyway, instead they are really more character studies with a focus on their deeply flawed and often self destructive protagonists. Brandon has clearly gone for a very similar approach.

You have to basically just accept this island nation that in every other regard is a typical banana republic has the technology to create perfect clones of people (Including their memories) and that they use this amazing technology in the most bizarre and twisted way, as a frankly unnecessary side show to allowing the rich to pay their way out of trouble. None of it really makes any sense if taken literally. But beneath the surface it is clear that the film is a study in Nihilism.

Into the Void.

To some extent it is about the form of Nihilism that comes naturally from power (Specifically the power that comes from being rich). Certainly this is where bored sociopath Gabi comes in. James however, is not especially rich and not at all powerful. His wife and step-father are rich, but his Nihilism is somewhat different and perhaps more related to his creativity. He wrote a book no one read, married his publishers daughter and has effectively landed on his feet but without any real sense of achievement. He is empty inside and without a real direction or purpose. This much is obvious.

At one point in the story the dangerous crowd James has fallen in with poses the question: “How do you know if you are the original or the clone”. It’s a common sci-fi trope and the first place my mind went once it was revealed it was a clone story. However, the important part of the conversation was the follow up: “Perhaps you just watched the real you die” to which James answers “We can only hope”. The group seem to approve of the response and there we have it. The ultimate nihilism, death without consequences. This sets up James journey for the rest of the film.

Thrill of it All.

Infinity Pool is ultimately simpler than the usual David Cronenberg affair, but that is not necessarily a bad thing. The story still contains the elements you would expect from a Cronenberg body horror, but it’s presented a more accessible package. It is dark, violent, horrific, filled with deeply flawed characters and ultimately thought provoking. The ending is in some ways disappointing, but has purpose. This probably won’t be everyone’s cup of tea but if you like the films of his father’s this Brandon Cronenberg movie may be worth your time, otherwise probably not. I do, so it’s a solid 6/10 for me. Would be higher, but you need a LOT of suspension of disbelief for this one.

Tag: Mia Goth

Frankenstein (2025)