I, Frankenstein


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Ben Sachs(Chicago Reader): This novel premise quickly gives way to lots of utterly confused action, though there are numerous occasional pleasures throughout.
James Berardinelli(ReelViews): It's ~t any fun. Everyone takes this way overmuch seriously.
Rafer Guzman(Newsday): What the pellicle doesn't have is a notion of humor.
David Hiltbrand(Philadelphia Inquirer): The particular effects are pretty good and the battle scenes are adequate. But the pellicle loses steam in the fourth act …
Tom Russo(Boston Globe): Stitches up Aaron Eckhart's chiseled confidence like a baseball cover, sticks him in a hoodie, and promptly crashes, expressions of gratitude to a complete inability to baffle awful, overdone dialogue and faux-elevated exposition.
Nicolas Rapold(New York Times): There are more clean, comic-book compositions and excellent architectural interlacing, but the blinkered screenplay and all one performances fail to lift the eschatology and self-probing off the page.
Andrew Osmond(SFX Magazine): The endure thing this film wants to transact is make a believable world.
Steve Newall(Flicks.co.nz): Ay-yi-yi, Frankenstein.
Jackie K. Cooper(jackiekcooper.com): Aaron Eckhart tries his most wise but he can't throw out life into this monster of a movie.
Perry Seibert(TV Guide’s Movie Guide): I, Frankenstein doesn't bear much of a brain and is completely wanting a funny bone.
Tasha Robinson(The Dissolve): I, Frankenstein looks suspiciously like it was conceived to a greater degree as a ready-made franchise property than in the same proportion that a strong individual story.
Margot Harrison(Seven Days): No creator's spark of inspired crack arrives to bring this dead lump of commercial clichalive.
Eric D. Snider(EricDSnider.com): The film isn't campy enough to have existence fun or smart enough to be good, but it passes by post-haste and without doing any serious injury to the viewer.
Mark Kermode(Observer [UK]): The garbled goblin gobbledygook recycles tired riffs from Underworld and Van Helsing during the time that the beast is torn between angels and demons – in ruins 3D!
James Mottram(Total Film): He's cheerful! But you might wish he wasn't on the model of seeing this knuckle-headed fantasy.
Drew Taylor(The Playlist): This movie is a body in desperate need of reanimation.
Ed Whitfield(The Ooh Tray): Was it guileless luck that randomly stitching together a dozen strangers gives you the perfect counterpart of Aaron Eckhart?
Tim Brayton(Antagony & Ecstasy): Ugly and unhappy in the most generic way feasible, amusing only in flashes, usually for the reason that of Eckhart's "kids roleplaying in the backyard" representation style.
Henry Northmore(The List): Eckhart be possible to act – as he proved in Thank You For Smoking, The Dark Knight and The Rum Diary – but he has little to work through here.
John Beifuss(Commercial Appeal (Memphis, TN)): The decisive insult is saved for the end credits: 'Special Thanks to Mary Shelley.'
Witney Seibold(Nerdist): I, Frankenstein may have ~ing destined to become a late-ignorance camp-fest in dorm rooms over the country. It will not, in whatever manner, ever be defended as good.
MaryAnn Johanson(Flick Filosopher): It's living! In a technical sense: images float on the screen, etc. But it is a vile, unholy monstrosity. Behold: the movie out of a protagonist!
Susan Granger(SSG Syndicate): Such recollection-numbing drivel – Mary Shelley must have existence spinning in her grave!
Charlotte O’Sullivan(This is London): Aaron Eckhart plays the thoroughly fresh monster, caught up in a battle between good and evil that threatens completely mankind. Somehow he finds time despite romance.
Rich Cline(Contactmusic.com): Even by its relentlessly cliched production design (trenchcoats and flickering candles galore), this husky gothic thriller deploys enough visual twinkling of an eye to hold our attention.
Donald Clarke(Irish Times): If a worse film than I, Frankenstein crawls from the murk in 2014, then it should be stuffed and mounted.