I found this an uneasy watch from several aspects. It takes the basic Mary Shelley story (much better conveyed by Kenneth Branagh's under-appreciated, sometimes unfairly scorned, 1994 film) and it opens out the back history of Igor (Daniel Radcliffe) who was to become Frankenstein's (James McIvoy) assistant.
Igor is a hunchback young man in a circus, graphically abused and cruelly treated as a grotesque for the audience's amusement. But he also has a large intellectual capacity which the scientist recognises when, on a visit to the circus in searching for parts from dead animals to use in his experiments, an accident occurs to a female trapeze artiste (later the film's slender romantic interest - Jessica Brown Findlay) when Igor's knowledge saves her life. Frankenstein helps Igor escape and takes him under his wing and memorably (and laughably) manages to eliminate Igor's lifelong hump deformity within a couple of minutes.
McAvoy plays Frankenstein straight out of old film-acting portrayals - all crazed scientist, manic grins, eye-rollings and riddling pronouncements of his superior wisdom - he gives it the complete works in ultra-flamboyant style. Meanwhile Igor, grateful for his freedom, is keen to help the scientist in his quest with the use of his significant brain-power, a task which he discovers is no less than to create life itself out of dead matter - the latest attempt being in the hideous shape of a grisly amalgam of body parts taken from various animals. Meanwhile, a religious-driven Scotland Yard detective (Andrew Scott) is on the trail of both of them and determined to put on end to the 'Satanic' experiments. (There's also a welcome cameo appearance from Charles Dance). The film climaxes with the creation of the near-humanoid monster. (How come there are so many conveniently-located violent thunderstorms within these isles with which to empower the experiments? I suppose it's only playing along with the rest of the fantasy.)
I must say that all the settings are most handsomely depicted, both outside scenes and interiors. It's a busy film, hardly letting up at all in its frenzied action, but as the denouement advances it becomes increasingly mechanical and one could tell with ease where it was going - though, of course, we have the well-known story as a background anyway.
Director Paul McGuigan has given us some scenes at which I found myself recoiling, though it's all done with great energy and purpose. However, in the final analysis I found it a great deal of noise over nothing especially new............4.
1 hour ago