James Whale’s 1935 film The Bride of Frankenstein is the best of Universal’s golden-age monster flicks — even though its title character only appears on screen for about five minutes. Nearly a century later, Maggie Gyllenhaal has decided to give The Bride! her movie back.
The Bride! (2026) Movie Review
In the early going, The Bride! has a lot in common with its 91-year-old predecessor. The lead actress — Jessie Buckley — appears as both Frankenstein novelist Mary Shelley and the title character, just as Elsa Lanchester did nearly a century ago. A talkative Frankenstein’s monster, played by Christian Bale, seeks out companionship and love, just as Boris Karloff once did. And a mad scientist, delightfully portrayed by Annette Bening, pursues unholy discoveries.
From there, though, Maggie Gyllenhaal’s film has plenty of new thoughts to share. The Bride! remains in a freewheeling, often stream-of-consciousness conversation with the many adaptations that have come before it. (Not just Universal and Hammer, either; the influence of Mel Brooks looms large.) But that conversation is not mere pastiche or recombination; The Bride! has a resonant story to offer, setting its tale in a phantasmagoric remix of mobland Chicago circa 1930.
The Bride! and Her Monster, On the Run
After digging up the hastily buried body of a murdered flapper — who may be possessed by the spirit of the aforementioned Shelley — the monster and his hired scientist (named Dr. Euphronious, in a clear echo of the original film’s Dr. Pretorious) restore life to the clearly confused corpse. For a while, it’s ill-fitting fun and deadly games; the unlikely couple sneaks off to the movies, enjoying a top-hat musical starring the monster’s favorite performer (Jake Gyllenhaal), before dancing the night away at an anachronistic underground club. (The performer Fever Ray cameos as a bizarre chanteuse.)
After the debauchery turns violent, however, a mob forms, much to the chagrin of “Franky,” who knows a thing or two about angry crowds. With a pair of deadpan detectives (Penélope Cruz and Peter Sarsgaard) on their tail, the monstrous couple decamps for New York, where they bond … even if The Bride is kept in the dark about her reanimated state.
There’s probably a bit more plot than needed here; I thought the film was wrapping up at one point, only to discover there were 40 minutes and several revelations yet to come. If The Bride! errs, it only does so in making too much clear; some restraint on the exact nature of each character might’ve helped. But any such sins pale in comparison to the remarkable vision on display.
Gyllenhaal Creates a Work of Art That Will Divide — and Endure
I’m sure there will be some viewers who don’t get on board with The Bride!. It’s a runaway train with no shortage of bold choices and surprisingly stylistic flair; if you don’t buy in completely in the early going, you may find some of its moves (dance and otherwise) absurd.
But I believe The Bride! is so singular and confident an effort that it is destined to be embraced over time. This belongs in an outre canon with films such as David Lynch’s Wild at Heart, Alex Proyas’ Dark City and Damien Chazelle’s Babylon. All these films have their detractors and their acolytes, in large part because they defy convention and genre in a beautifully reckless way. It’s a “hell-for-leather” experience, as our Bride is fond of saying.
Wild at Heart is probably the best point of comparison — a doomed and complicated couple on a nightmarish yet beautiful road trip. Sure, these ones are literal monsters. With monsters this entertaining, though, who needs regular old humans?
Disney and Pixar Try to Launch Another Franchise — and More New Releases
The Disney/Pixar animated film Hoppers, about an animal lover communicating with various critters via a robotic beaver, is receiving warm notices. The film boasts a 96% “Fresh” rating on Rotten Tomatoes, with critics praising the film’s humor and lively visuals. While it should top the box-office returns this weekend, the Mouse House and its sister studio have had trouble launching original properties lately; hopefully, this one catches on over time (so they have a property other than Toy Story and Incredibles to generate future sequels).
When in doubt, fight some aliens. Netflix is dropping the Australian actioner War Machine this Friday; Alan Ritchson, Dennis Quaid, Stephan James and other square jaws must fend off an interstellar invasion in an effort from Hitman’s Bodyguard director Patrick Hughes.
Dual Oscar nominee Sirat expands to more North American theaters this weekend. The film, which landed on my Top 10 list for 2025, is a harrowing tale of a desperate search in the Moroccan desert. It’s a tough watch, but a remarkable film — particularly for its sound and cinematography.
Also expanding: Pillion, the erotic drama that’s garnered considerable buzz. Alexander Skarsgård and Harry Melling star as mismatched lovers. The film won the Screenplay prize at Cannes.
Story by Sean Collier
Photos Courtesy of Warner Bros.
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