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 Hopes He's Dead Before AI Art Goes Mainstream The director tells WIRED the real Victor Frankensteins are tyrannical politicians and Silicon Valley tech bros. Guillermo del Toro attends the Headline Gala screening of Netflix's during the 69th BFI London Film Festival. Guillermo del Toro loves a challenge. Nothing the 61-year-old director does could be termed "half-assed," and each of his movies is planned, scripted, and storyboarded with immense attention to detail. Such discipline is evident in, his adaptation of Mary Shelley's 1818 novel. It's a movie del Toro has been trying to make for years, and it shows. The elaborate sets and costumes--as well as some embellishing of Shelley's story--could only be the work of someone as connected as he is with his source material.

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.

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.

From to: TIFF's Films on Power, Creation, and Survival Are a Warning These are WIRED's picks for some of the most urgent and unsettling films from the 50th annual Toronto International Film Festival. Some of the most urgent films at this year's Toronto International Film Festival aren't here to soothe. Together,,, and play like sizzle reels of caution, and at their best, they're award-worthy symbols of alarm. These films, the first two of which are documentaries, don't just entertain--they confront fractured humanity, closeness and distance under Israel's siege of Gaza, and a creation we've set loose, growing beyond our control. That's the one muscle of film--to interrogate rather than facilitate.

When Virginia Woolf wrote this innocuous sentence in "A Room of One's Own," her foundational work of feminist criticism, she opened the door to another field, still decades in the future--that of queer literary criticism. Do not blush," Woolf cautioned her audience. "Let us admit in the privacy of our own society that these things sometimes happen. Sometimes women do like women." Chloe and Olivia are characters in a book that Woolf has invented, a mediocre novel by a writer she names Mary Carmichael. Ostensibly, the women are friends and colleagues, not lovers, but Woolf drops clues for attentive readers. At one point, she interrupts her train of thought to ask for reassurance that Sir Chartres Biron is not lurking somewhere in the room. When she gave her original talks, Biron had recently been appointed the chief magistrate in an obscenity case that had been brought against the publisher of Radclyffe Hall's "The Well of Loneliness," a novel about a girl named Stephen who wants to be ...

New Jersey parents Christina Balestriere and Kristen Cobo discuss being sued by a school librarian for speaking out against'inappropriate books' on'Jesse Watters Primetime.' The University of Florida offers a class that examines race in the "genre of horror and its trends with a particular focus on representations of racial Otherness and racism," including "white terror" in literary classics, like Frankenstein. As part of the African American Studies class, titled "Black Horror, White Terror," students are instructed to analyze horror books and movies through the lens of "racial identity and oppression" using materials about "the power and horror of whiteness," "black feminism" and "queering personhood," according to a fall 2022 syllabus obtained by The College Fix. "We will also consider the relationship between horror and Black literary modes and traditions focusing on key moments that depict fears of Blackness and/or the terror associated with being Black in America," the syllabus reads. "This course will study the works of Black authors and producers as a way to explore racial identity and oppression."