Framed as a documentary, Andrew Weiner’s The Frankenstein Theory follows Johnathan Venkenhein (Kris Lemche) on his journey to save his career and his family’s name. Venkenhein believes that Mary Shelley’s Frankenstein is actually a work of nonfiction. He believes that the content of the famed novel is based on actual events and that Frankenstein’s monster is real, and alive. He, along with a long time friend and a documentary crew, travel to Canada to find the terrifying monster and prove his worth in his field. As they move closer to what they believe is the home of the famed monster, things become tense and the dangers of the open Canadian terrain become more and more clear.
The idea behind The Frankenstein Theory appeals to nerds and fans of horror alike. It introduces an entirely new theory about the classic tale of narcissism and horror. Weiner’s ability to develop such a well-informed theory about the monster is quite impressive, and it appeals greatly to a wide-range of viewers. Like never before, Weiner is able to make connections between nerd-culture and the horror genre, strengthening the film’s potential for appreciation. The early portion of the film does a lot to develop the theory that Frankenstein’s monster does, in fact, exist. Weiner and Vlady Pildysh use this time to create an in-depth look at the history of genetics, Shelly’s novel and the possibility that they too somehow exist together in real life. On the surface, the theory created by the two writers appears to lack any holes; it presents itself to the audience as sound and factual (even considering the ridiculous nature of the theory).
The film, in general, presents itself to audiences as a comprehensive story of narcissism and terror, mirroring Shelley’s novel. The one issue that arises throughout the course of the film is that many of the main characters refer to the monster simply as “Frankenstein” without Venkenhein, who is meant to be an expert on the subject, correcting them even once. While this is a common mistake, those who are familiar with the story know that Frankenstein is, in fact, the doctor who creates the monster, not the monster. This mistake causes the writers to lose some credibility and finds audiences losing some respect for Venkenhein and his journey toward success.
The acting is adequate and each actor does enough to help move the film forward without it becoming too dull. About forty-five minutes in, the story, while wonderfully appealing, does hit the theoretical wall. The pacing slows and the audience is subjected to a short time when not much happens. In keeping with the idea that this is based on nonfiction, Weiner chooses not to make the film move too quickly and attempts to keep it as realistic as possible. With a suspension of disbelief, Weiner’s The Frankenstein Theory does present itself to audiences as a true story and, with all of the research (both fictional and not) helping to build a compelling story, it is quite enjoyable.
The Frankenstein Theory is well developed and keeps audiences engaged from start to finish (even with the short lull in the middle). Pildysh and Weiner’s script is full of suspense, and a few jump scares, that keep audiences on the edge of their seats and bracing for the next intense moment. The idea for the film is far fetched, however, as previously mentioned, the intense detail outlined in Venkenhein’s theory allows audiences to suspend their disbelief and appreciate the story and the film. The Frankenstein Theory is an underrated film that brings audiences from all walks of life together and allows them to appreciate the deep and meaningful showings of Weiner and Pildysh.
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