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Frankenstein Unbound

Frankenstein Unbound

Horror · Science Fiction · 1990

The ultimate weapon, claimed to be safe for mankind, produces global side-effects including time slides and disappearances. The scientist behind the project and his car are zapped from the year 2031 to 1817 in Switzerland where he meets Dr. Victor Frankenstein, Mary Shelley and others.

Movie details

Frankenstein Unbound

“Classic terror is now state-of-the-art shock.”

1990 Horror · Science Fiction 1h 25m

Critical arithmetic

One number, for now.

TMDB

5.8 / 10

Community rating

The ultimate weapon, claimed to be safe for mankind, produces global side-effects including time slides and disappearances. The scientist behind the project and his car are zapped from the year 2031 to 1817 in Switzerland where he meets Dr. Victor Frankenstein, Mary Shelley and others.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Frankenstein Unbound?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Screamers

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Osiris

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Resident Evil

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The Signal

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ARQ

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Universal Soldier: The Return

Universal Soldier: The Return

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Where it lives

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Names above the title

The people responsible.

Directed by

Roger Corman

Written by

F. X. Feeney · Roger Corman

John Hurt

John Hurt

Dr. Joe Buchanan / Narrator (voice)

Raúl Juliá

Raúl Juliá

Dr. Victor Frankenstein

Nick Brimble

Nick Brimble

The Monster

Bridget Fonda

Bridget Fonda

Mary Wollstonecraft Godwin

Jason Patric

Jason Patric

Lord George Gordon Byron

Michael Hutchence

Michael Hutchence

Percy Byshee Shelley

Catherine Rabett

Catherine Rabett

Elizabeth Lavenza

Court is in session

Put Frankenstein Unbound on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.