Bugonia (2025) Film Review

Two conspiracy-obsessed men kidnap the CEO of a major company when they become convinced that she’s an alien who wants to destroy Earth.

Bugonia is directed by Yorgos Lanthimos director of Dogtooth (2009), The Lobster (2015), The Killing Of A Sacred Deer (2017), The Favourite (2018), Poor Things (2023), Kinds Of Kindness (2024) and a few others. 

Part of what makes Yorgos Lanthimos such a fascinating director is his ability to take the viewer into a much different world in each of his films. Even if you don’t fully like a certain film of his you always have to give him credit where credit is due, he makes the world of said film unique. That’s certainly the case here with Bugonia and it just might be one of his very best films, every single corner there is something going on whether it be the character’s movements, a score that is almost mocking the characters with this triumphant opera even though what’s shown is the exact opposite. Plus a lot of unexpected twist and turns make this film a very bizarre ride. Although Bugonia is a remake of South Korea film Save the Green Planet! The film manages to be its own thing! 

Emma Stone as usual delivers in every single way possible. Her approach to such a bizarre script feels natural, her interactions with Jesse Plemons and Aidan Delbis alone make the film worth watching. She captures the bizarre atmosphere and balances the humor and the film’s darker moments masterfully. The chaos between her character Michelle Fuller and Teddy Gatz (played by Jesse Plemons) only shows how incredible her performance really is. 

Jesse Plemons and Aidan Delbis are both fantastic here as well. Teddy Gatz is a character whose trauma, abuse and anger leads him down a path that isn’t reality. The way Plemons portrays this is incredibly effective and only shows the unhinged nature that Teddy has piled in him. One moment he can seem somewhat in reality and the next moment he can be spouting the most nonsensical things you ever heard of, these are the moments in particular that really shows how incredible Plemons’s performance really is. In between all of this Aidan Delbis delivers some humanity, while his performance isn’t as grand or large in scale as Stone or Plemons. He delivers a more quiet yet impactful performance that sticks to the viewer in the end. 

The writing is fantastic, there’s a lot going on here thematically. Such as conspiracies caused by corporate pain, the loss of truth, corporations reducing their employees and such much more. Each of these themes is tackled masterfully, with a lot of exploration of the characters and just overall fascinating character and world writing that gives such bizarre picture. Seeing how and what pushed Teddy over the edge was some of the film’s most important moments, it does not necessarily sympathize with him it just hands you these scenes and asks you “what do you make of this?” 

The cinematography from cinematographer Robbie Ryan and the score from Jerskin Fendrix combined together create something truly fascinating. The cinematography gives this film a small scale look yet feels much bigger, that’s mainly because a majority of the film we are in this one house. Yet when the film does switch to the outdoors in some scenes it feels massive, it’s a nice balance that keeps it very natural and strangely grounded. The score as I said at the beginning almost has this humor to it, there’s this triumphant opera that points a finger at the character and laughs at them when something doesn’t go according to plan. It’s hilarious and quite effective something you don’t see a whole lot of films attempt to do mainly because it’s hard to nail down. 

Finally there’s the last bit of the film and the bizarreness of the film in general. Despite being bizarre this strangely feels like one of Lanthimos’s most grounded films, rabbit holes like this do exist and people’s trauma and abuse can lead them down a dark path. The final act has one of the best song uses of 2025, I won’t say what it is here because it truly is effective and creates this haunting yet calming picture. The bizarre nature of the film is both comedic yet atmospheric, there’s a lot going on here that only adds up as the film goes on. 

Overall Bugonia is one of the best films of 2025, a fascinating film that has so much to explore with excellent performances. 

Bugonia is available on all VOD platforms.

10/10 A+

Mother Of Flies (2026) Film Review

When a young woman faces a deadly diagnosis, she seeks dark magic from a witch in the woods; but every cure has its cost.

Mother Of Flies is directed by John Adams, Zelda Adams and Toby Poser directors of The Deeper You Dig (2019), Hellbender (2021), Where the Devil Roams (2023), Halfway to Zen (2016), Hell Hole (2024) and a few others. 

The Adams family are back with a really solid and atmospheric experience with Mother Of Flies. A film that unlike their last film Hell Hole (2024), manages to keep the eerie atmosphere and deliver tons of chilling scenes that capture the feel of abandonment with its setting. The film does take a bit to get going and there are some rough moments with the acting, but in the end the film delivers on its premise and leaves the viewer satisfied. 

The performances are about the same as they have always been in any of the Adams family’s films. In other words it can range from being decent to rough territory, however the charm of them being a family and doing these films together seriously helps out in the long run. Despite some of the rough acting, you can feel the passion that John, Zelda and Toby spread on screen. It definitely works a lot better in this case since the film feels a lot more intimate which does give the viewer some touching father and daughter moments between Jake (played by John Adams) and Mickey (played by Zelda Adams). Toby Poser as Solveig is a pretty formidable witch, she has this calm yet intimidating energy to her that the viewer feels right when she’s introduced. The film’s slow burn feel heavily relies on Poser’s performance which ends up working to the film’s benefit. 

The atmosphere is dark and has the feel of abandonment, it’s the same type of feel that Hell Hole (2024) tried to capture but unfortunately fizzled out as the movie went on. Luckily that’s not the case here with Mother Of Flies, whether it because Toby Poser’s calm yet threatening performance that ultimately tries to get Mickey by herself, or the cinematography from cinematographer Fabian Gamper is just visually more interesting and tackles the feel of abandonment much more sharply. 

The film does admittedly take a bit to get going, it’s a film that takes its time to build the world around it and I would say the wait is worth it. The film’s script definitely has it’s weak points particularly with the second act of the film where there does seem to be some repetitive moments going on here. However as the film’s mystery becomes slowly realized by Jake and Mickey things get much more investing and brings the viewer into it all.

Overall Mother Of Flies is a solid film from the Adams family, it’s a huge improvement over Hell Hole (2024) and brings the atmosphere front and center. 

Mother Of Flies is available on Shudder. 

7/10 B

Primate (2026) Film Review

Lucy’s tropical island homecoming turns deadly when her family’s clever chimpanzee, Ben, becomes rabid. With her father away and no help coming, paradise becomes a prison as Lucy and her friends fight for survival against a pet they once trusted.

Primate is directed by Johannes Roberts director of The Other Side Of The Door (2016), 47 Meters Down (2017), The Strangers: Prey At Night (2018), 47 Meters Down: Uncaged (2019), Resident Evil: Welcome To Raccoon City (2021) and a few others. 

Primate is a very solid start to 2026 when it comes to theatrical released films, it’s a very simple killer animal film with a very mean edge to it that helps it stand out. Combine that with a fantastic synth score that is very John Carpenter like and some gnarly kills with decent acting and you have yourself a quite fun experience. 

The performances are solid, not everyone here sticks the landing but Johnny Sequoyah, Jessica Alexander and Troy Kotsur do great here. Even with the limited screentime Kotsur has he is still able to leave this connection to the viewer which makes you care about his care. Sequoyah and Alexander are fun here as well, there is not a whole lot going on here in the character writing department. But the film does make up for it by stacking up what follows. 

Primate’s secret weapon is its gnarly kills and its beautiful 80s like synth score. Starting with the kills they are quite brutal from the opening scene all the way to end, have this extra sense of darkness added to them due to Ben the chimpanzee being unpredictable. Much like in real life chimpanzees are very unpredictable, making this all the more haunting and shrouded in this air of mystery of what’s going to happen or what is he going to do? Of course if you have seen any killer animal film you probably do know what’s going to happen, but even then, it still works in the film’s favor simply due to how much the kills show the brutality of it all. 

The score is what makes this film so effective, it’s a synth 80s score that feels very John Carpenter like and it compliments the film’s atmosphere wonderfully. The score is from Adrian Johnston who funnily enough also did the score for one of director Johannes Roberts previous films The Strangers: Prey At Night (2018). Which also had a wonderful score that fit the atmosphere, Johnston does that again here with Primate. It has that feel of 80s B movies you would catch on a random tv channel, when you combine the score with the film’s atmosphere and suspenseful moments you get some truly fascinating results that end up being a ton of fun. 

The film does admittedly take a bit to get going, there are definitely some scenes here that the film could have easily went without using. However that does not take away from the film’s buildup and atmosphere that never takes you out of the film, you can almost overlook the film taking a bit to get going simply due to it’s atmosphere feeling dark and rich. 

Overall Primate is a fun time, it’s got the kills, score and acting to back it up. Plus Ben the chimpanzee is fun here as well. 

Primate is currently in theaters. 

7/10 B

The Rip (2026) Film Review

A group of Miami cops discovers a stash of millions in cash, leading to distrust as outsiders learn about the seizure, making them question who to rely on.

The Rip is directed by Joe Carnahan director of Smokin’ Aces (2006), The A-Team (2010), The Grey (2011), Stretch (2014), Boss Level (2020), Copshop (2021), Shadow Force (2025) and a few others. 

The Rip is yet another January Netflix original film that isn’t bad (the first being People We Meet On Vacation), while that’s not exactly high praise and admittedly is the bare minimum. A lot of Netflix original January films would wish they are at least middle of the road. There’s a decent amount to like about The Rip from the cast to the action scenes which brings a decent enough experience to fans of the genre. 

The main reason why The Rip works is mainly due to the cast. Ben Affleck and Matt Damon are undeniably a great duo who work incredibly well together, their dialogue bounces off of each other naturally and the two are already great actors which does help make the material of The Rip a bit more interesting. Teyana Taylor and Sasha Calle also get some great moments here, even if they sometimes feel a bit underutilized in certain sections of the film. 

The writing for the most part is decent, the first two acts help establish the film’s atmosphere in surprisingly great detail. The atmosphere is thrilling enough due to the writing and gives these characters some sort of alert to check their surroundings, it’s not a case where everything feels like it’s safe. There’s a few moments in particular that are decently tense thanks to this. With that being said, the writing does drop the ball during the film’s final act. The tension that was built up filters away in a very predictable and empty conclusion that really does feel like the writers couldn’t think of way to close the story. It’s unfortunate because there was some genuine intrigue going on here prior to the incredibly empty final act. 

The action scenes are solid, they are not anything groundbreaking and won’t change the landscape of the action thriller genre. But due to the film’s atmosphere the scenes work decently enough, especially when you combine them with the settings which the movie does a pretty good job of incorporating them into the mix. The cinematography is also shockingly really solid, cinematographer Juan Miguel Azpiroz captures some beautiful shots here that add to the overall detail of the movie even if they are little moments.

Overall The Rip is a serviceable action thriller that despite having struggles to close out the film, does just enough to stick the landing and give something that fans of the action thriller genre will have a decent time with. 

The Rip is available on Netflix. 

6/10 C+

Killer Whale (2026) Film Review

After a life-shattering tragedy, Trish tries to comfort her best friend, Maddie, by taking her on a spectacular adventure to a private lagoon halfway across the world. However, their peaceful retreat soon becomes a terrifying fight for survival when a killer whale seeks vengeance for a life in captivity.

Killer Whale is directed by Jo-Anne Brechin director of Zelos (2017), Paper Champions (2020), One Perfect Match (2023) and Designing Christmas With You (2023). 

Killer Whale is the first truly terrible movie in 2026 and it’s not even really close. For a film that is about a killer whale, it’s quite dull and has very little engagement. Even if you like killer animal films (such as myself), you will not find any enjoyment out of this one due to how uninterested the movie really is at going all out and instead tries to be other films of the genre. 

Virginia Gardner is the only part of this movie that’s great, she tries her absolute best to work with a script that is severely lacking in character and excitement. She’s able to turn some scenes into scenes that would be otherwise terrible into something a bit more tolerable. The acting from the rest of the cast is terrible, it almost feels parody like at certain points which might have been funny if that was what the movie was going for but unfortunately that’s not the case at all here. The bad acting truly takes you out of the movie and away from the little suspense the movie had (I’m being generous when I say little suspense.) 

The writing attempts to go for what made The Shallows (2016) and even Fall (2022) which funnily enough Virginia Gardner was also in Fall (2022) and like this movie it was distributed by Lionsgate. Anyways, to say the movie fails to capture what made those two films great would be an understatement, the writing is just not there and as I said before it often feels like a parody. Combine that with some terrible decision making and this poor attempt at trying to give these characters some depth and you have yourself a poorly written movie. 

A lot of this comes down to a lack of experience of the genre from director Jo-Anne Brechin, she’s mostly directed Hallmark movies in the past and while it’s nice to see a director try to do something out of their comfort zone (I’ve said in past reviews that I like seeing directors do this.) There comes a point where if you aren’t able to capture a single element of the genre you are tackling maybe it’s best to call it quits, the lack of an atmosphere and thrills are prime examples of this and you can quickly tell they are absent by watching the first 10 minutes of the movie. 

Overall Killer Whale is terrible, dull and not engaging, even for a low budget killer animal movie this is severely lacking in what makes the genre fun. 

Killer Whale is available on all VOD platforms. 

1/10 F

People We Meet On Vacation (2026) Film Review

Poppy wants to explore the world and Alex prefers to stay home with a good book, but somehow they are the best of friends. They live far apart, but for a decade they have spent one week of summer vacation together.

People We Meet On Vacation is directed by Brett Haley director of The New Year (2010), I’ll See You in My Dreams (2015), The Hero (2017), All The Bright Places (2020) and All Together Now (2020). 

Netflix romantic comedies have set this terrible expectation for viewers, that’s mainly due to the poor quality and a majority of them being almost identical to one another. But every now and then you get one like People We Meet On Vacation that manages to actually be quite great, while it does have it’s flaws which basically comes down to familiar genre beats. There is this level of likability to the film that helps it cross the finish line. 

Emily Bader and Tom Blyth both give very solid performances, the chemistry between the two is undeniably charming. It has this natural magnetic energy going on here that the viewer feels almost immediately from the moment they start sharing scenes together. Emily Bader does a fantastic job of making Poppy such a funny and lovable character that mixes well with Tom Blyth’s character Alex. Tom Blyth plays a different type of role here and he nails it quite well. It just mainly comes down to the chemistry and the two really nailed it, there’s this authentic feel to the film that we really do not get a whole lot from these Netflix romantic comedies.

The soundtrack is solid and fits the mood of each scene, the cinematography from cinematographer Rob C. Givens is shockingly quite great. There’s a lot of moments here where the film takes advantage of the setting and delivers some gorgeous shots that show off the setting in great detail. 

The writing is solid, there’s some genuine funny moments that work in the film’s favor. While the character moments of the film are not grand, they do add up to being quite meaningful towards the end. The film definitely has familiar beats but luckily it never goes the incredibly predictable route and opts for a more natural and grounded approach. 

Overall People We Meet On Vacation isn’t anything groundbreaking, however it is incredibly refreshing to see a romantic comedy be effective and accomplish what it’s being sent out to do. Great performances, solid pacing and solid natural dialogue, I recommend giving this one a look. 

People We Meet On Vacation is available on Netflix. 

7/10 B

The Housemaid (2025) Film Review

Hoping for a fresh start, a young woman becomes a live-in maid for a wealthy couple who harbour sinister secrets.

The Housemaid is directed by Paul Fig director of Bridesmaids (2011), The Heat (2013), Spy (2015), A Simple Favor (2018), Jackpot (2024), Another Simple Favor (2025) and a few others. 

Well it’s very clear to see which of the two Paul Fig films released in 2025 is the better one. After the disappointing Another Simple Favor I figured Paul Fig was going to bounce back with The Housemaid and that was most certainly the case. This is a film that lives in it’s own little world, it knows it has incredibly silly atmosphere that’s reminiscent of those LifeTime channel movies and it’s unapologetic about it which ends up making the film work in the long run. 

What makes The Housemaid works as well as it does is the performances. Particularly Amanda Seyfried who leans into Nina Winchester’s unsettling energy that goes into this glorious over the top feel along with this unnerving feel and with a nice mix of entertainment. We can see different parts of Nina’s mind just spill out in different scenes and that’s masterfully captured by Amanda Seyfried who truly brings it home especially during a few particular moments that shoot the film’s bizarreness level up so many notches. 

Sydney Sweeney has some solid moments as well, while not every single moment of her performance is great. She is able to squeeze in some great lines and keep her character Millie interesting to the viewer, the interactions between her and Seyfried are some of the film’s best moments which makes the first half of the film quite entertaining and thrilling. Brandon Sklenar is fine enough, he’s by far the film’s weakest performance and his character is unfortunately not incredibly interesting. He does admittedly have some decent moments during the film’s last bit however which I guess does make up for it. 

As I said before, the film lives in its own little world and the same can be said about the writing. The writing establishes this thrilling yet silly atmosphere that completely works due to Paul Fig’s direction and his familiarity with blending these genres together, even if I’m not a huge fan of every single one of Fig’s films something I always do appreciate about him is that he likes to experiment. He likes to see what he can put the comedy genre in and make it work, that’s the case here. The film also has the theme of domestic abuse that it explores, which is mainly done through Nina, as entertaining as Seyfried’s performance is there’s also this bit of sadness to her performance that is quite effective when the second half of the film rolls around. It catches the viewer off guard and really delivers in the end. 

Overall The Housemaid is an effective thriller that captures a lot of the campy nature of films similar to it while also bringing in some strong atmosphere, well written dialogue and some strong performances especially from Amanda Seyfried. 

The Housemaid is available on all VOD platforms.

7/10 B

A Poet (2025) Film Review


Oscar Restrepo’s obsession with poetry brought him no glory. Aging and erratic, he has succumbed to the cliché of the poet in the shadows. Meeting Yurlady, a humble teenager, and helping her cultivate her talent brings some light to his days, but dragging her into the world of poets may not be the way.

A Poet is directed by Simón Mesa Soto director of Amparo (2021). 

A Poet is the story about a man who is hated by just about everyone in his life and fails to confront as to why. But over the course of the film we slowly see him starting to try to be a better person and finding himself through poetry. The writing combined with some very solid performances makes for a wonderful character study driven film that is bound to leave the viewer impressed.  

Ubeimar Rios’s performance is quite excellent here, there is a lot of depth to his character Oscar. We see early on in the film how he has completely lost himself, he’s self-sabotaging his life and even his failure as a father. Rios does such a wonderful job of making you dislike Oscar at first but then slowly turning the ship around for him as a character where you start to root for him to change. There’s character moments here that capture the theme of wanting change in this raw way which in turn helps the viewer connect with Oscar. The little moments of Oscar finding himself through poetry is incredibly rewarding to the viewer as you feel like you have been on this journey with him. 

Rebeca Andrade as Yurlady is also fantastic, every scene with Andrade and Rios interacting is where the film is at its best. It’s worth noting that both Rios and Andrade are not professional actors, which only makes their presence all the more natural during the mentor scenes. It also helps that we get insight into the lives of their characters Oscar and Yurlady almost serving as this daily life sort of feel. We don’t get as much information about Yurlady as we do about Oscar (which is to be expected the film revolves around him.) but we do get just enough to piece everything together. 

The writing is very well done, the theme of change is present throughout the film and it works perfectly with this comedic yet sad atmosphere that is felt throughout the experience. The script is able to capture the complexities of Oscar as a character, he’s both frustrating and fascinating at the same time. Oscar is discomforting to watch yet also gripping, there is such a wonderful balance that’s thrown into the mix that makes the film all the more effective. 

Overall A Poet is a really interesting story that is told in this balanced and fascinating way that sticks with the viewer. The performances help keep the story moving along and leaves on a very worthy end. 

A Poet releases in theaters January 30th! 

8/10 B+

Most Anticipated Films Of January 2026!

Happy 2026 everyone! Before we get to the list I have a one thing to mention!

I have 6 reviews left from 2025 which include: 28 Years Later, Sentimental Value, Bugonia, Die My Love, If I Had Legs I’d Kick You and Hamnet. Those reviews I plan on hopefully finishing by the end of next week.

Anyways 2026 looks like a very strong year for film and we are starting off pretty strong with January! Sam Rami returns with Send Help, Primate I’ve heard is pretty strong, The Testament Of Ann Lee, Dead Man’s Wire and The Chronology Of Water all expand this month (all of which are getting very good reviews), Charli xcx debuts with her first leading role with The Moment, We Bury The Dead seems like a solid zombie film and finally 28 Years Later: The Bone Temple has gotten very strong early reactions and sounds like it matches with the previous film!

January 2nd

We Bury The Dead (Theaters)

January 9th

Primate (Theaters)

Dead Man’s Wire (Theaters)

The Chronology Of Water (Theaters)

January 16th

28 Years Later: The Bone Temple (Theaters)

Dead Man’s Wire (Expands Wide)

January 23rd

The Testament Of Ann Lee (Expands Theaters)

January 30th

Send Help (Theaters)

The Moment (Theaters)

Frankenstein (2025) Film Review

A brilliant but egotistical scientist brings a monstrous creature to life in a daring experiment that ultimately leads to the undoing of both the creator and his tragic creation.

Frankenstein is directed by Guillermo del Toro director of The Devil’s Backbone (2001), Hellboy (2004), Pan’s Labyrinth (2006), Hellboy II: The Golden Army (2008), Crimson Peak (2015), The Shape Of Water (2017), Nightmare Alley (2021), Pinocchio (2022) and a few others. 

Guillermo del Toro and Frankenstein was a match made in heaven that was bound to happen at one point. There was talk for a long time about Guillermo del Toro wanting to make this passion project come to life and I’m glad we were able to see it do so because he absolutely hits it out of the park. From the performances, del Toro’s style fitting like a glove, the many beautiful technical aspects of the film and this deep understanding of Frankenstein’s monster how he sees the world plus finding beauty around him. Leads to such a beautifully done film that ends up being one of the year’s greatest. 

Oscar Isaac as Baron Victor Frankenstein is fantastic, he captures the determined nature of the character to create the creature, over the course of the film we see this power get to his head and even treats the creature who saw Victor as a friend or this father figure. That’s especially the case with the final moments of the film, in which the creature ultimately sees Victor as this tragic flawed father figure. It’s a truly fascinating scene that really shares a lot about Victor as a character. Oscar Isaac does such a fantastic job of exploring Victor’s character, he especially shines when sharing the screen with Jacob Elordi (who plays the creature.)

Mia Goth plays a dual performance, this time as Lady Elizabeth Harlander and Baroness Claire Frankenstein. The latter performance we only get a few minutes of but it’s still a solid one from what’s presented. However Lady Elizabeth Harlander is where we get to see Goth’s talent really shine, while she is a bit absent during the film’s middle portion. She makes up for that with tons of memorable scenes, the love story going on here with the Creature is genuinely beautiful and has this tragic human feel that may actually make the viewer shed a tear. Mia Goth brings this beautiful and gothic like fairytale like performance that fits like a glove with Guillermo del Toro’s style and atmosphere, her chemistry with Jacob Elordi is phenomenal and the final moments of her character are devastating, even when she was absent for parts of the film. There is still this devastating and tragic nature that Goth nails down and is truly memorable. 

Jacob Elordi as the Creature is a truly unbelievable performance, not only is this performance completely different from anything Elordi has ever done before. But it’s also one of those performances that leaves you in amazement, Elordi was already a strong actor but his performance as the Creature proves he can go even further with his talent. The Creature has this beautiful human theme going on here that Elordi perfectly captures, the Creature’s entry into the film with him being scared for a split second from water or him being fascinated by a leaf is truly beautiful, the body language that Elordi constantly displays as the Creature tells a story of its own. The Creature finding beauty all around him whether it’s intentional or not is heartwarming, Elordi’s dialogue is subtle and done in this beautiful way that makes the viewer see the film in the eyes of the Creature. It’s moments like these that truly bring out Elordi’s unbelievable talent, which ultimately leads to him delivering one of the best performances of the year. 

The writing is phenomenal and only gets better over the course of the film. These themes of human connection, how the Creature sees the world, evolving as people, do not give into cruelness are all fantastic and explored perfectly. Some of which are done in a few short sentences, which tells the viewer everything they need to know as to what the film is tackling. The direction and screenplay from Guillermo del Toro brings the human element to the Creature in such a beautiful and touching way that captures the heart of the film. The attention to detail during the film’s quiet moments of the Creature just admiring the outdoors is fascinating and is quite honestly breathtaking. 

The cinematography from Dan Laustsen is wonderful, it has the gothic look that immediately blends well with Guillermo del Toro’s style and brings the atmosphere front and center. The atmosphere starts out as this rich and building block like feel and slowly but surely evolved into something thrilling yet beautiful at the same time, it captures this new life feel that the Creature is going through, this whimsical and wonder touch that brings out the film’s strength which leads to the more emotional moments to pack more of a punch. Lastly there’s the passion of the subject matter, to say there is so much love poured into Frankenstein would be an understatement, Guillermo del Toro makes it known he is a huge fan of the subject matter and brings so much passion into the mix that helps create so many memorable moments that compliment the film. 

Overall Frankenstein is another masterful film from Guillermo del Toro, it’s incredible that we got to see this passion project come to life. The cast are phenomenal, the story is masterfully told and the film itself is this beautiful exploration that you never want to leave.

Frankenstein is available on Netflix. 

10/10 A+