Compared to the alluring, seductive presence of Dracula, and his clan, and the Brainless Ultra-consumers of the living undead. Frankenstein’s monster doesn’t get that much love… sure there were the classic Monster movies of the 1930s and 1994 remake, not a lot of the reanimated patchwork man’s story has been explored on the big screen. After the success of Vampire/Werewolf civil war franchise, Underworld by Kevin Grevioux, bringing Frankenstein into contemporary cinemas seemed like the logical next step, and by a digital graphic novel to the silver screen, we got that in 2014’s I, Frankenstein.
We start off pretty much where the classic novel ends, with the final confrontation between creator and creation, with Frankenstein’s death in the cold arctic, returning to England, The Monster, Adam, attracts the attention of some demons who want to take Adam to their leader. He is promptly saved by Gargoyles (the natural protectors of good and humanity) and spends the next 200 years in hiding, only to return to hunt down his hunters, Adam now must deal with a sinister plot that seeks to turn his very essence into his own downfall.
The film knows what contemporary audiences want from the start, wall-to-wall action, in this mythological civil war, the fighting is constant and spectacular, with well-choreographed fight sequences and colourful action spectacular utilising seamless C.G.I. There’s a rich stream of innovative ideas that the film imports from its source material as a digital graphic novel, transposing Frankenstein’s monster into the 21st century, works well and sets up the potential for sequels for a long time to come.
Aaron Eckhart is an oddly fitting choice for the Monster, Adam, He’s not traditionally the first choice you’d have, but he manages to be physically intimidating, yet spiritually vulnerable and open. He shares the screen with Bill Nighy is both charming and menacing in his role as the chief villain of the demons, the head of the gargoyles, played by Miranda Otto is also a notable addition to the cast with their combined company making a strong ensemble.
I, Frankenstein takes the appropriate steps of conveying the eponymous monster into the 21st century, while also bringing a hearty dose of Underworld as well. Just like Victor Frankenstein Stuart Beattie manages to take the best parts of a vivid source material, some impressive visuals, a dash or two of good acting, and stitches it into an impressive platonic ideal for an interesting film adaptation.
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