In the realm of horror comedy, there is a rich history that stretches back decades. From the classic 'Abbott and Costello Meet Frankenstein' to the more recent 'Shaun of the Dead,' these films have carved out a space for themselves by blending together elements of humor and scares. However, not all horror comedies hit the mark, and 'Lisa Frankenstein' falls into that category.
Released in the 1989 setting, this film attempts to capture the essence of the neo-'80s era, both in its filmmaking style and visual effects. With a low-tech, indie comedy feel, it aims to exude a hipster bravado that comes off as more forced than genuine. The writing, penned by Diablo Cody, known for her success with films like 'Juno' and 'Jennifer's Body,' seems to rely heavily on well-worn horror comedy tropes, making the overall experience feel stale and outdated.
The film centers around Lisa Swallows, portrayed by Kathryn Newton, a brainy outsider with a tragic past. Her mother was brutally murdered in her own home, and she now finds herself living with an evil stepmother and a stepsister who epitomizes shallowness. Lisa, with her array of moods brilliantly portrayed by Newton, fits the mold of the misunderstood, too-cool-for-middle-class character seen in films like 'Desperately Seeking Susan' and 'Heathers.'
Seeking solace, Lisa finds herself drawn to Bachelor's Grove cemetery, where the grave of her dream guy resides. In a twist that is not surprising in the realm of horror comedy, he comes back to life as a pale zombie. Cole Sprouse brings this character to life, making him a mute hunk monster-saint reminiscent of Edward Scissorhands or a gothic rendition of 'The Rocky Horror Picture Show's' pin-up creature.
The plot primarily revolves around a makeshift lab in the form of a malfunctioning tanning bed that adds a touch of Frankenstein-esque theme to the story. As Lisa gains confidence with the help of her undead boyfriend/creature, she undergoes a transformation in her appearance, resembling a Madonna-at-the-prom wannabe. Her longing for acceptance becomes evident as she sings REO Speedwagon's 'Can't Fight This Feeling' with sincerity, highlighting the dichotomy between her self-mockery and her genuine desires.
While 'Lisa Frankenstein' attempts to be both scary and funny, it falls short on both counts. The film lacks the ingenuity and freshness required to make its blend of horror and comedy effective. It teeters on the edge of an overly complicated SNL sketch, leaving the audience largely unaffected by its forced attempts at humor.
Perhaps Diablo Cody has evolved beyond this sort of material, as her subsequent works, like 'Young Adult' and 'Tully,' showcase a more realistic and empathetic approach. Nevertheless, her brand is edginess, and 'Lisa Frankenstein' attempts to ride that wave without achieving true success.
In a genre that has become saturated with monsters and zombies in high-camp, normal settings, it's difficult for a horror comedy like this to stand out. The longevity of iconic shows like 'The Munsters' and 'The Addams Family,' along with the continued popularity of monster cereals and the franchise 'Hotel Transylvania,' have shifted horror comedy into the realm of children's entertainment.
Overall, 'Lisa Frankenstein' fails to deliver the bold and refreshing blend of scares and laughs that is characteristic of successful horror comedies. Its reliance on tired tropes and its inability to evoke genuine fright or laughter contribute to its overall lackluster nature.
