Guillermo del Toro makes Frankenstein his own

Frankenstein is one of those stories that has been told countless times. And yet, Guillermo Del Toro managed to make a version that does not only feel faithful to the original of Mary Shelley, but is also imbued with the brands for which the director is known.

Perhaps this should not be too surprising – during the presentation of the film during his first at the Toronto International Film Festival this week, Del Toro explained that he had been thinking of Frankenstein since he was seven years old, but it was only when he became a father that he really understood how to tell the story of the story he wanted. Well, all this time paid.

The day 5 of Tiff, I also managed to discover a charming drama on life after death, and a slightly confused action comedy taking place in a very small and not normal city. You can consult my reflections on the three films below (I will have a more in-depth review of Frankenstein later).

You know the story now: the troubled genius Victor Frankenstein (Oscar Isaac) is able to impregnate the life of a creature sewn with corpses (Jacob Elordi), only to avoid its creation, which is in turn avoided by the rest of society and considered a monster. Del Toro Frankenstein does not change the basics, but it widens the story in a fascinating way. There is a more in -depth overview of Victor’s Mania, and a surprisingly detailed account of resuscitation logistics, which helps found the fantastic tale. The biggest change, however, is that there is a clearly defined father-son structure, transforming the creature into an even more tragic figure. And of course, the film looks incredible, with obsessive drawings for everything, from costumes to coffins.

_{In some October 17 rooms, streaming on Netflix on November 7.}

Joan (Elizabeth Olsen) has just died, and now she has an impossible choice to make: if it is necessary to spend eternity with her first husband who died young (Callum Turner) or her second husband, who has built a life with more than 65 years (miles Teller). It is technically a film on the beyond – which is rendered as a station in the 70s, and is overwhelmed by all kinds of strangely strict rules – but Eternity is more a surprisingly funny tear jet about different types of love, and what it really means to find your person. This also let me guess until his last moment, which gave me real chills.

_{In some rooms of November 14, a broader outing on November 26.}

When a city has a name as normal, Minnesota, you just know that it hides a dark secret. In this case, it is linked to an agreement with the Yakuza in Osaka, and unfortunately the interim sheriff Ulysses (Bob Odenkirk) is caught. In theory, the premise is a bit like Hot Fuzz crossed with Fargobut unfortunately Normal is not as entertaining as either. It is both too absurd and not enough absurd; History is plagued by coincidences that are difficult to take into account, and it is not as fun as its ridiculous premise should be. At least there is a good bloody action with the kind permission John Wick The creator Derek Kolstad, who wrote history.

_{No word yet on a larger version.}