We employ a toolset -- dubbed Dr. Frankenstein -- to analyse the similarity of representations in deep neural networks. With this toolset, we aim to match the activations on given layers of two trained neural networks by joining them with a stitching layer. We demonstrate that the inner representations emerging in deep convolutional neural networks with the same architecture but different initializations can be matched with a surprisingly high degree of accuracy even with a single, affine stitching layer. We choose the stitching layer from several possible classes of linear transformations and investigate their performance and properties. The task of matching representations is closely related to notions of similarity.

Netflix's offers a different spin on one of literature's all-time assholes. Enter your email to receive alerts for this author. You can manage your newsletter subscriptions at any time. You're already subscribed to the aa_Laura_Miller newsletter. You can manage your newsletter subscriptions at any time.

Jacob Elordi's portrayal of the monster in the Netflix movie is unlike we've ever seen him before. Enter your email to receive alerts for this author. You can manage your newsletter subscriptions at any time. You're already subscribed to the aa_Rebecca_Onion newsletter. You can manage your newsletter subscriptions at any time.

Guillermo del Toro's lavish "Frankenstein" adaptation starring Oscar Isaac and Jacob Elordi delivers stunning visuals but struggles to emotionally connect in this Netflix release.

In Guillermo del Toro's "Frankenstein," a Vast Vision Gets Netflixed Down to Size The latest reanimation of Mary Shelley's classic tale, starring Oscar Isaac and Jacob Elordi, is a labyrinthine tour of a filmmaker's career-long obsessions. Earlier this year, Quentin Tarantino, when asked to parse the high points of his filmography in an interview, described the two-part "Kill Bill" (2003-04) as "the movie I was born to make." He added, "I think'Inglourious Basterds' is my masterpiece, but'Once Upon a Time . . . in Hollywood' is my favorite." Might these be distinctions without a difference? I'm generally wary of artistic-birthright narratives, not least because a filmmaker of remarkable talent, consistent vision, and good fortune might well wind up with multiple candidates for the honor.

Ever since her death in 1986, it was taken as common knowledge that Elsa Lanchester - who became a horror movie icon by playing the title character in the Bride of Frankenstein - had been cremated and her ashes sprinkled in the ocean. But then Scott Michaels, the founder of Dearly Departed Tours, discovered that her cremated remains were interred in a rose garden under her married name, Elsa Lanchester Laughton. For almost 40 years no one had made the connection - until now, he says. Mr Michaels, 63, is a historian who specialises in the dark side of Hollywood. A go-to for programmes about dead Hollywood celebrities and murder, he has consulted for Quentin Tarantino's Manson murder film Once Upon a Time in Hollywood.

Movies Guillermo del Toro's Is a Lavish Epic Decades in the Making Enter your email to receive alerts for this author. You can manage your newsletter subscriptions at any time. You're already subscribed to the aa_Dana_Stevens newsletter. You can manage your newsletter subscriptions at any time. We encountered an issue signing you up.

Del Toro's Frankenstein is a sumptuous take on a classic parable With enthralling visuals and intense performances, this version of Mary Shelley's sci-fi tale reminds us to ask not only if we can create life, but if we can live with our creations, says Davide Abbatescianni Guillermo Del Toro has long been fascinated by the borderlands where science, myth and monstrosity meet. In his new film, Frankenstein, he turns at last to Mary Shelley's foundational text: the 1818 novel that many argue gave birth to both science fiction and modern horror. The result is visually sumptuous, performed with intensity and, at times, philosophically acute - even if its pacing and some design choices betray the heavy hand of Netflix, the film's financier. Shelley's story of Victor Frankenstein - a brilliant but reckless scientist who dares to bring dead matter to life - remains one of the most potent cautionary tales about the promise and peril of scientific ambition. In del Toro's film, Oscar Isaac plays Victor as a charismatic, obsessive figure whose wounds, both personal and intellectual, propel him into uncharted territory.

Listen to more stories on the Noa app. I n 1979, five months after my seventh birthday, my father crashed his plane into an orange grove and died. Dad, a pilot, had gone up in one of his twin-props with a friend and lost control after some sort of mechanical failure occurred in the skies above Central Florida. The funeral was closed casket--an uncommon thing for Catholics back then--because my mother did not want people to see the work the undertakers had to do to stitch my father back together. So I never did get to say that last goodbye.