Universal’s Dark Universe may have started and ended with “The Mummy” in 2017, but between this and “Nosferatu” we may finally be getting the classic monster cinematic universe after all.

“Frankenstein” is directed by Guillermo del Toro, who has been vocal about his desire to make a film based on Mary Shelley’s infamous monster for 20 years. It stars Oscar Isaac as the mad scientist Victor Frankenstein, who sets out to bring life to his creation (Jacob Elordi); Mia Goth, Felix Kammerer, Lars Mikkelsen, David Bradley, Lauren Collins, Charles Dance, and Christoph Waltz also star.

In many ways, “Frankenstein” feels like a Frankenstein’s monster of Guillermo del Toro’s entire career. There are hints of the moody “Shape of Water,” the creatures of “Pan’s Labyrinth,” and the themes of failure and striving for success of “Nightmare Alley.” In many ways, it is the film that del Toro was born to make, and although it runs a bit too long, the attention to detail and clear passion for the source material elevate this above a standard monster movie.

As the Creature, Jacob Elordi is given moments to be both physically intimidating and emotionally vulnerable. At times he is forced to come off a lot like Emma Stone in “Poor Things,” with the mind of a child in the body of an adult, suddenly thrust into a world they do not know. Elordi (all 6’5″ of him) feels built to play the character, and although he replaced Andrew Garfeild, I can’t see anyone giving quite the same performance that he does.

The rest of the cast is solid, with Oscar Isaac getting to chew some scenery as Victor Frankenstein. A man cearly born too soon, his character’s obsession with conquering death and playing God has been inspirational in the 200 years since Shelley published the book, and Isaac gives him just enough charm and empathy to make us be able to root for him. Mia Goth also looks and feels born to star in 19th-century monster movies, so she’s right at home playing the fiance of Victor’s brother, and one of Victor’s biggest critics.

The attention to period detail is really commendable, with the bustling 19th century European markets and old gothic castles breathing life into each frame. All too often now (especially with big budget Netflix films), everything is shot in front of a blue screen and looks fake and flat, so it’s refreshing to see a filmmaker be sure their film won’t look dated in just five years (that being said, there are a few shots up in a tower and on a frozen ship in the North Pole that briefly look rough).

The film can feel a little long at points, especially in the middle before we get a change in narrators, but I wouldn’t say it ever gets boring. The Creature design may also not be totally convincing to some people, with Elordi at times looking like a shiny Nicolas Hoult.

“Frankenstein” is a feast for the eyes and senses, and it’s a shame that most people are only going to get to experience it at home on their couch (I was fortunate enough to not only see it in a theater, but projected on 35mm film). With it’s cold setting and even colder characters, the film lends itself to a viewings anytime during spooky season or during the winter, and I feel that while it’s not the best film of Guillermo del Toro’s career, it is the one I may find myself revisiting the most of his.

Critics Rating: 8/10