A smart sequel…
As we learned in the previous movie, Ygor’s most evil rendition can control the monster with his flute, injecting a magical element into a horror tale that used to treat science rather than the occult as fantasy. This is also the most political approach to Frankenstein by Universal Studios. It goes as far as debating whether the franchise’s antagonist should die or be left alone.
The odd chemistry between Ygor and his creature benefits from the unexpected role reversal. It’s a fun twist on a story many times retold and susceptible to redundancy, and it makes the monster appear more threatening than he did in previous installments. The makers don’t feel a necessity to make him sympathetic and rekindle his scaring potential, instead.
We still get claustrophobic castle sets, a cyberpunk scientific lab, a crazy doctor, but this Frankenstein adaptation takes all the right liberties to spice up an already acquired taste. It takes many chances and mostly succeeds where it gambles. It gives us an updated yet simplified horror icon that matches Dracula’s evil and doesn’t feel the need to protagonize evil in order to win us over.