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John Hurt, Raul Julia, Bridget Fonda, Nick Brimble, Catherine Rabett ... see more see more... , Catherine Corman , Jason Patric , Michael Hutchence , Mickey Knox , Terri Treas , Myriam Cyr , Cyrus Elias , William Geiger , John Karlsen , Bruce McGuire , Paul Weston , Donald Hodson , Isabella Rocchietta , Geoffrey Copleston

Legendary low-budget mogul Roger Corman made a somewhat inauspicious return to the director's chair for the first time in nearly twenty years (unless one counts his uncredited participation in "pickup... read more read more..." shoots for several New World Pictures productions) for this quaint sci-fi/horror outing, based on the popular novel by Brian Aldiss. Opening in the year 2031, the story begins with scientist Joseph Buchanan (John Hurt) working on a top-secret military project that creates a rift in time in space, hurtling him and his ultra-high-tech hotrod backwards through time to the early 19th century. Buchanan manages to adapt quite well to his new surroundings, particularly after making the acquaintance of fellow scientist Baron Frankenstein (Raul Julia). Curiously, the Baron is presented here as an authentic historical figure, and his monster-making efforts the basis for the famed book by Mary Shelley (Bridget Fonda), which was a work of fiction. After ruminating about his situation with Mary and her future husband Percy Shelley (late INXS frontman Michael Hutchence) at the villa of mad poet Lord Byron (Jason Patric), Buchanan is approached by the Baron to help construct a mate for his intelligent but homicidal creature (Nick Brimble). Unfortunately, things do not go according to plan, leading to an ironic denouement that finds Buchanan pondering the apocalyptic results of his life's work. The film boasts solid production values and some beautiful location photography (most of the film was shot in Italy); however, the classy look and high-profile casting can't disguise the overall feel of an early New World outing, albeit with a much larger budget. The script, adapted by Corman and writer F.X. Feeney, eliminates many of the novel's intellectual twists and turns; much of the remaining dialogue comes off as merely pretentious. ~ Cavett Binion, Rovi

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34% liked it

1,352 ratings

Critics

44% liked it

16 critics

R, 1 hr. 26 min.

Directed by: Roger Corman

Release Date: November 2, 1990

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DVD Release Date: September 5, 2006

Stats: 88 reviews

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Flixster Reviews (88)


  • January 8, 2008
    I like this different look into the Frankenstein story. It's a little cheap but good.
  • November 6, 2011
    Frankenstein was always my most favorite of the old school Universal monsters. He tried hard to not be a monster. He fought against his nature. And he was created out of man's blind ambition and science. And while this version takes a very odd and interesting turn where the monst... read moreer is more in the background and man's blind ambition is more of what is the true monster it keeps the original story and theme. Oh, and there is time travel as well. Both John Hurt and Raul Julia gives wonderful performances, and the rest of the cast is decent. Every time I see a movie with Julia it really shows what the world of cinema lost when he died. The characters are fairly well-written. The film has a fairly bad name since the monster does look more like the result of genetic mutation rather than a creature built together by human bodies. The film has several violent scenes ala Corman style that seem to be there mainly to add violence rather than substance to the film, but apart from that, the film is pretty good, at least worth a watch, if only one watch.
  • August 6, 2011
    Something like this might look terrible but... this was actually pretty darn good. Might type more laters.
  • July 23, 2011
    Scientist Joseph Buchanan(John Hurt) goes back in time from 2031 to 1817 to Geneva Switzerland, in his talking, Futuristic Car, Back to the Future Style. He becomes friends with Lord Byron(Jason Patric), Baron Victor Frankenstein(Raul Julia), & the future Author of the Infamous H... read moreorror Books about Vampires & Frankenstein, Mary Shelly(Bridget Fonda).
    Frankenstein's Monster is Killing, a young Woman is accused, & since Dr.Buchanan knows the true History, he tries to save her, to no avail.Then is forced to help in the creation on Frankenstein's Bride.
    A bit Camp,Corney, with Sexual Innuendo, & Opulence,Beautiful Costumes, Castles & Estates,& Swiss Countryside,that you'd never guess was on a low budget, as it visually stunning.I actually really like this film because of the luminaries of the Era,that I so admire, that went on to infamy.
    FMC is playing this again for a few days, I am watching it Late Night, again, right now.
  • March 2, 2011
    Disappointingly, this turned out to be a cross between Knight Rider and a children's level TV Frankenstein movie. I am not impressed.
  • September 21, 2009
    How did this start again? Was it when I read Brian Aldiss' novel? Or did I read that because I read about the movie? To be sure, a strong impetus behind my decision to view it (and debatably behind reading the book it is based on) is the presence of INXS' late vocalist Michael Hu... read moretchence. Many people who know me know I love INXS like nobody's business, so this shouldn't come as a big surprise. A starring role for John Hurt and a villainous role for Raul Julia doesn't hurt anything either, naturally, but it was definitely the presence of Hutchence in one of two film roles that drew me to it. And, of course, we can't completely discount the name of Roger Corman.

    In the future, Doctor Joe Buchanan (Hurt) is attempting to develop a weapon so powerful that it ends wars by simple threat of its existence. Unfortunately, operation of the weapon leads to erratic weather and "time storms," rifts in the time-space continuum that occasionally displace people and things. Caught in the middle of a severe one, Buchanan is sent back to Switzerland in the early 19th century, where he rapidly discovers not only the real Doctor Victor Frankenstein (Julia), but eventually the author who made him famous--Mary Wollstonecraft (Bridget Fonda). Frankenstein's younger brother was recently killed, and witchcraft is suspected. Horrified, Buchanan attempts to gain the help of Frankenstein in clearing the nanny being held responsible, both of them knowing his creation, The Monster (Nick Brimble) is the true culprit. When Frankenstein refuses, he goes to Wollstonecraft, who has an interest in the proceedings herself. Buchanan finds himself caught in the scientific debate of morality, and of "playing God," as he attempts to convince Frankenstein to come forward, or at least to destroy his creation before it kills more. Unable to do so, he must resort to attempting to use the side effects of his own weapon to stop them.

    Roger Corman's films have a reputation as pure schlock, cheaply and quickly produced, generally entertaining but showing their budget like people who are utterly unaware of their body types show skin when they make poor fashion decisions.* It's not a flattering description for anyone's approach to film, but Corman himself has never seemed bothered by it. Still, I have my own approach to film, having no interest in watching a film to laugh at its limitations (the ones where I will not grant the creators grace, ie, there is a budget and appropriate technology at hand for them, I just get annoyed by). Frankenstein Unbound I seem to recall reading reviews of as a book (after I read it myself, I think, or perhaps while I was reading it) and hearing it labelled the author's smutty fantasy of sleeping with Mary Shelley. This isn't an unfair description of that subplot (which seems unnecessary, and is only briefly touched on in the film, anyway), but it's hardly a characterization of the entire story. Corman's film, I think, suffers similarly. There's laughter (amongst the boring, as far as I'm concerned) to be derived from a moment here or there, but it's hardly a knock against the movie as a whole, really.

    The film is actually quite well shot, with a very smart eye for cinematography and solidly paced action from Corman himself, in his last time in the director's chair to date. Julia and Hurt are unsurprisingly excellent in their roles, with Brimble giving a nice sort of confused but lethal gravitas to the Monster. Hutchence (who plays Percy Shelley) and similarly-briefly-appearing Jason Patric (who plays Lord Byron) flit in and out of scenes they are in without thoroughly establishing themselves, giving it that moment of "Neat!" without dragging things to a halt by getting hung up on their limitations. Hurt and Julia carry most of the film, not only in terms of skill, but, appropriately in light of that, in terms of screen time. Julia is viperously dangerous and manipulative, with momentary glimpses of sanity or humanity, while Hurt is sufficiently both a scientist and a solid protagonist.

    One of the most surprising things about the film is that the settings are quite believable. I'm sure if I knew much about 19th century Switzerland I'd have issues, but to the untrained eye it looks believably 19th century, and the future is not embarrassingly dated. The budget certainly shows in the design of the future objects, but it isn't as cheesily obvious as it often is. There's a stream-lined efficiency to it, a relative disinterest in gimmick-ing up any of the objects from the future that serves the film very well. The most obvious piece of the "future" present is Buchanan's computer-enhanced talking car, which sounds like a dreadful Knight Rider-style horror, but actually works pretty well. It does look rather 1980s, but not familiar, which is really probably the best approach to creating the future: not trying to guess at future approaches to design, but instead building from current ones to arrive at something unusual. The gore, too, is unusually good for what people say about Corman's films, though I should know by now that such mentalities are derivative of a genuine love that has been misappropriated by the cynical and postmodern into an attempt to prove oneself "better" than some films by mocking them (I mean nothing against Mystery Science Theater 3000 if that is crossing any minds--I'm quite a fan).

    There's a solid bit of weight behind the film's concept and themes that betrays this whole schlocky mentality that people have about Corman's films, and there's an absolutely fantastic set of title credits to back the whole thing up. What Corman is known for is efficiency and industry in his work, and he makes a miniscule budget work for this film--he can't hide everything (because there's not enough money, of course!) but he makes a fantastic use of what he has, and puts very strong actors in to sell what doesn't work. Really, this film should be given a much better chance--but it's typically, it seems, swallowed up by those of us who are curious about Hutchence as an actor and those who want a "stupid" movie to laugh at. A shame, really, as it does well with its subject matter.

    *I'm not sure where this peculiar simile came from, but it makes sense in my head.
  • April 26, 2009
    I am really having a bad streak in horror flicks. I made the age old mistake of thinking "Hey, it's got John Hurt in it how bad can it be?" ::headdesk:: I get the over arching parallel of the morality play that is Frankenstein in both lead characters. The problem is they gave... read more me nothing new. It's been told ad nauseum and much better without the time travel to meet fictional characters and shaggin Mary Shelly. I am beginning to lose hope.

Critic Reviews


Kevin Carr
September 7, 2005
Kevin Carr, 7M Pictures

about what you'd expect from Roger Corman... without the boobs

Luke Y. Thompson
November 28, 2003
Luke Y. Thompson, New Times

Has its problems, but what a cast! Kudos to film critic F.X. Feeney for scripting a Corman flick.

Widgett Walls
November 7, 2003
Widgett Walls, Needcoffee.com

Sometimes even bad Corman can at least be fun Corman. This is not one of those times.

Ken Hanke
August 21, 2002
Ken Hanke, Mountain Xpress (Asheville, NC)

Good performances can't save it. Palm trees in Switzerland are a nice touch, though

Scott Weinberg
July 25, 2002
Scott Weinberg, eFilmCritic.com

More 'weird' than it is 'scary' - but it's generous with the weirdness.

Owen Gleiberman
September 7, 2011
Owen Gleiberman, Entertainment Weekly

Click to read the article Full Review

Vincent Canby
August 30, 2004
Vincent Canby, New York Times

Click to read the article Full Review

Jonathan Rosenbaum
January 1, 2000
Jonathan Rosenbaum, Chicago Reader

Click to read the article Full Review

November 2, 1990
Entertainment Weekly

Click to read the article Full Review

Christopher Null
July 13, 2006
Christopher Null, Filmcritic.com

Click to read the article Full Review

Critic ratings and reviews powered by RottenTomatoes.com

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