I, FRANKENSTEIN

I, FRANKENSTEIN has the ingredients for a memorable supernatural thriller, but they never come together. The film offers some inspiring words from the gargoyle queen, good performances from Miranda Otto and Bill Nighy, and Christian overtones that occasionally shine. Those moments show what the movie might have been.

The problems are more persistent. The script, acting, and character development are weak, the story jumps around, and the worldview combines Christian, occult, and humanist elements in confusing ways. The action is intense even though there is little blood, and some images could frighten younger children.

If you are curious, watch it at home with older teenagers or adults and discuss its ideas afterward. For most family movie nights, choose something else.

I, FRANKENSTEIN begins where Mary Shelley’s novel ends. Frankenstein’s monster becomes the central character as he encounters a hidden war between demons and gargoyles, who are considered lower angelic beings.

The gargoyle queen names him Adam, after the first man. After turning away from humanity, Adam is drawn back into the conflict, where demons want him for their own scheme and the gargoyles struggle to decide whether they can trust him.

Two stars means this is a mediocre film with a few worthwhile elements. The performances by Miranda Otto as the gargoyle queen and Bill Nighy as the head villain are the saving grace. Yvonne Strahovski also brings some freshness as Terra.

The larger problems are substantial. The script and character development lack depth, the storyline jumps around, and the movie can leave viewers unsure what the plot is or where it is headed until halfway through. Aaron Eckhart’s expressions and demeanor remain largely unchanged, even as Adam’s circumstances change.

The film mixes Christian, occult, and humanist ideas. Its central conflict is between demons and gargoyles, who are presented as a lower form of angels and as beings who ultimately answer to Michael the Archangel. The movie also uses Christian symbols, holy water, crosses, prayer, and references to Heaven and Hell.

Some of the gargoyles’ messages are positive. The queen speaks of a higher purpose and says, “Adam is alive, and all life is sacred.” But the theology is often confused. The gargoyles suggest that the queen is the only link to the archangels, implying that people cannot speak to Heaven without her. The film also treats inanimate objects as spiritually powerful and says Adam’s existence means God is no longer the only creator of man.

Adam is an anti-hero rather than a good role model. He begins with revenge, distrusts humanity, and does not forgive until someone shows him kindness. He also lies, deceives, betrays others, and protects Terra selfishly. Terra and the doctor who helps Adam provide better examples because they seek to help people and stand up for what they know is right.

The film’s longing for a soul and a better moral life points toward the need for forgiveness, but it does not clearly provide a biblical answer. Jesus commands, “Love your enemies and pray for those who persecute you” (Matthew 5:44).

I, FRANKENSTEIN offers a few inspiring moments and some good supporting performances, but its weak filmmaking and confused worldview outweigh them. Watch it at home only with older viewers prepared to discuss its ideas. For a clearer family choice, see. WAIT FOR HOME.