Teen movie renaissance: ‘Lisa Frankenstein’ attempts timeless charm, falls short

Teen movie renaissance: ‘Lisa Frankenstein’ attempts timeless charm, falls short. When was the last time we had a teen-centric movie that felt like an instant classic?

By Megan Saur

Outside of this year’s Sundance Festival (which featured films like Megan Park’s “My Old Ass,” which you should look forward to), 2018 comes to mind as a quick answer, the year that gave us at least three (and very different) miraculous cinematic mainstays like “The Hate U Give,” “Eighth Grade” and “Blockers”.

Some might also include the following year’s “Booksmart.” One way or another, we’ll agree that it’s been a while.

At least in theory, “Lisa Frankenstein ” promised a deliciously twisted flavor with what it took to finally become the next timeless teen movie this side of the ’20s.

For starters, it’s an intriguing mix of horror, romance, and comedy genres written by none other than Diablo Cody, a writer unrivaled attuned to the feminine rhythms of both teenage girls and adult women (considering “Juno” and “Young Adult”) with humor and insight, as well as the author of the diabolically unbalanced pleasures of “Jennifer’s Body.”

Then there’s director Zelda Williams (daughter of Robin Williams) making her feature film debut, a talent raised in the world of comedy.

And finally, we have the wonderful Kathryn Newton (from the aforementioned “Blockers’ ‘) in the lead role, an ’80s-era recluse goth girl in Madonna outfits who falls in love with a strange creature from the tomb and falls in love with plunge boldly into the unknown.

Considering all of these momentous assets at its disposal, it’s a shame that “Lisa Frankenstein” doesn’t quite work on any level, neither as a comedy, nor as a coming-of-age film, nor as an extravagant love story, leaving us yearning for much more of each dish. bloody that serves.

Blame should be split evenly between the script and direction here, with the former not pushing it boldly enough in either direction, and the latter simply matching the timidity of the story on screen with a flat visual that lacks a sense of witch magic

The story follows Lisa Swallows, a misfit who witnessed her mother brutally murdered by an ax murderer, only to see her father marry the bigoted Janet (Carla Gugino) in the wake of the tragedy.

Now, Lisa spends her days avoiding her popular but kindly cheerleader step sister Taffy (Liza Soberano) and daydreaming in a nearby cemetery, wishing she were with the dead occupant of her favorite tomb decorated with an ancient bust.

When she makes that wish too literally after suffering much cruelty at the hands of her school crush and predatory lab partner, let’s just say that the corpse misinterprets Lisa’s request, abandoning her coffin to join her in the world of the dead.

You can’t be blamed if you want some “Beetlejuice”-style specificity and mischief in “Lisa Frankenstein,” perhaps a suggestively cheerful song and decidedly mischievous performances, or something poignant in the style of “Edward Scissorhands.”

Although Cole Sprouse’s lovelorn corpse monster tries his best to give an impression of a young, sad Johnny Depp, and for a while he’s curiously charming to watch, the film’s attempts to intertwine its genres fall desperately short of its ambitions.

As a result, nothing sticky, gory or cheesy remains in “Lisa Frankenstein,” not even when Lisa and her monster search for human limbs to fill in the Victorian-era creature’s missing body parts.

The missions of a teenage assassin in the most hilariously ’80s outfits since “The Wedding Singer” have never felt so unexciting to undertake, even with a more than capable Newton at the helm.

Perhaps he still deserves some credit here: after all, Cody’s script that obviously nods to the Mary Shelley classic is a rare bet in the current landscape, one that has its heart in the right place for all the young eccentrics out there.

They long to be seen and accepted with their eccentricities.

In other respects, both she and Williams are clearly on the same page about an idea of the ’80s, the golden age of high school movies where a movie “‘Lisa Frankenstein'” would have fit right in.

But along the way, the duo seems to have forgotten to revive the spirit of the type of film they wish to bring into the 21st century.

There’s a curious old-fashioned, flatness and lack of emotion throughout “Lisa Frankenstein,” which feels dull despite its REO Speedwagon power ballad “Can’t Fight This Feeling,” and lacking in color despite its production design. with a lot of magenta.

At its best moments, Williams’ debut feels very similar to its central monster: not dead, but with nowhere to go. It’s a cosmic disappointment.