Directed by: Maggie Gyllenhaal
Written by: Maggie Gyllenhaal
Run Time: 2 hours 6 minutes
Revisiting classic movie monsters is nothing new, in fact it’s all the rage right now. And with so many horror stories from centuries past being resurrected for modern audiences, most recently Nosferatu (2024) and Frankenstein (2025), it begs the question of just why filmmakers are so fascinated by them. Those of a more cynical nature might suggest it’s simply Hollywood running out of original ideas, but when they continue to deliver such unique and creative reimaginings — Maggie Gyllenhaal’s The Bride! being the lates — it’s clear this isn’t the case.
After living a life of loneliness for over a century, Frankenstein’s monster, known here as Frank (Christian Bale), arrives in 1930s Chicago with plans to find a companion. Together with the help of Dr. Cornelia Euphronius (Annette Bening), they reanimate the corpse of a woman, Ida (Jessie Buckley) who’s recently been murdered by the mob. Back from the dead and believing that she is Frank’s bride she starts to explore the city, but after a violent altercation at a nightclub the pair find themselves on the run from the police, pursued by Detective Jake Wiles (Peter Sarsgaard) and his assistant Myrna Malloy (Penélope Cruz).
Those expecting a straightforward remake of James Whale’s classic horror sequel, The Bride of Frankenstein (1935) will be left disappointed. Although, considering the titular bride only appears in the final, fleeting moments of his film, it’s clear that the character was in real need of redemption, and Maggie Gyllenhaal’s interpretation gives her just that. While remaining faithful to many elements of the original film — Gyllenhaal too begins with Frankenstein author Mary Shelley (also played by Buckley) talking about an additional story to be told — she makes this familiar tale unapologetically her own.
She has a lot of fun doing it too. As after an eccentric opening that sees Mary Shelley possess Ida in order to tell her story — an early litmus test for how much mileage you may or may not have for this adaptation — she welcomes Christian Bale’s Frank to the screen. Having wandered the earth alone for over a hundred years now, he’s had to find solace elsewhere, and where better in the early 20th century than the talkies? Yes, he’s a certified cinephile and naturally, he’s obsessed with the films of Jake Gyllenhaal, or rather the popular Hollywood movie star (Ronnie Reed) that he portrays here, and why wouldn’t he be?
This sense of whimsy is felt throughout her film, with the cast bringing a really playful energy to the proceedings. As Dr. Cornelia Euphronius, Annette Bening gives her best performance in years. Her initial reluctance proves essential for Gyllenhaal’s ridicule, both comedic and pointed, of the concept of reanimating a woman solely to be Frank’s mate. While her eventual submission to his request brings with it an additional edge to her character, if anything The Bride! could have benefited from more time spent with her. All the same with Jeannie Berlin’s humorous turn as her maid Greta, and Penelope Cruz’s earnest portrayal of aspiring detective Myrna, the film is never short of entertaining side characters.
Of course, as she should be, Buckley is the main attraction here. She gives a truly untethered performance, full of varied and complex emotion. Her bride is one of unchecked female rage but also of joyful wild abandon. Having memories of Ida and dubbed Penelope by Frank, Gyllenhaal instead sets her on a search for a name of her own. She gives her agency, while also connecting her to the larger female collective, experiencing systematic violence and abuse from men. It’s an ambitious array of ideas to include in a single adaptation, and at times the lack of focus is felt. Nonetheless, all the mayhem of the plot, coupled with Buckley’s committed performance, creates a suitably chaotic cinematic experience, one that almost encourages the unruly unfolding of its numerous chapters.
This perhaps feels most realised during a wonderful musical sequence, doubling as a nod to Mel Brooks’ Young Frankenstein (1974), in which a swanky NYC party erupts into a choreographed routine of Puttin’ on the Ritz. It’s every bit as electric as the bolt that first sparked life into Frankestein’s creature and it will make you wish the whole damn thing was a musical. With standout sequences such as this, bolstered by the fantastic visuals – the production, costume, hair and makeup departments all excel themselves – The Bride! is all treat, no trick. Gyllenhaal’s flair for directing is undeniable, and with as bold, as vibrant and as versatile a sophomore feature as this, she proves her capabilities in tackling more elaborate, expensive projects, something that her debut feature, the intimate drama, The Lost Daughter (2021), didn’t necessarily demonstrate.
Admittedly, her screenwriting could use finesse. But when it comes to The Bride! who wants subtlety? This is a story of a woman unabashedly navigating her way through a cruel and complicated world, and by allowing her protagonist the freedom of expression she’s previously been denied, Gyllenhaal has created one of the most thrilling and unexpected adaptations the character has seen for some time. This Bride is well and truly alive — she’s alive! — and she’s kicking too.
Star Rating: ★ ★ ★
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