Story: It’s 1989, and Lisa has been through it. In the past couple of years, she’s lost her mom, her dad remarried, and she’s been relocated. Now, in a new city, new house, with a new “mom” and step-sister? She longs for love and acceptance. Y’know, from the guy she’s got a crush on. And maybe that guy who’s face she saw on a bust atop a grave at the Bachelor’s Cemetery. Be careful what you wish for? Or maybe, just wish harder. I’m not the boss of you.
Genre I’d put it in: Stories Ripe With Possibility But Underdeveloped In Reality
Release Date: 2024
Remake, Sequel, Based-On, or Original: Based on the story by Mary Shelley. Very loosely based. Like, Mary totally didn’t have a tanning bed. As if. Where would she plug it in?
Gotta say: Diablo Cody? I’m always down to check out anything she’s had her hand in. Kathryn Newton? Hello; loved her in Freaky. (Note to self: make Freaky part of this year’s #31in31.) Zelda Williams? Robin’s daughter’s directorial debut equals me being excited to see what her cinematic voice will be. But. While Lisa is a neon 80s fever-dream filled with retro cool? There’s a certain je ne sais…monstre that left me wanting more. In many cases, the film zigged where it should have zagged, cut where it should have lingered, and dragged when it should have teased. I can absolutely see fans of the story re-editing this film to make it snappier, spookier, and sillier. But as it stands? Lisa is just okay.
And I hate to damn this film with faint praise. Cody’s Jennifer’s Body is absolutely awesome, and I re-watch it on the regular. And I enjoyed Tully and Young Adult. Obviously, Juno is a Millennial classic this Gen-Xer still returns to now and again. But with Lisa, Cody’s words feel soulless, even though they ring true to the time. (Like I said, Gen-Xer. So I know what I said back in the day, and Cody nailed that.) The art direction is similarly on point, with those hideous weirdly washed-out pastel home design alongside bright neon of 80s fashion. And Williams definitely has a style I’ll want to come back to, with her quirky Burton-meets-John Hughes style.
So what’s my emotional damage? Well, Lisa has great bones, and a story that just won’t quit…but it’s messy. Lisa definitely has a premise that could be absolutely amazing; think Jennifer’s Body but reanimation rather than possession. The editing is choppy, as if the film itself is asking if it should cut to this scene now. The blocking is basic; there were many moments when I longed to see a close up rather than a wide shot, or a pan instead of a cut, etc. (Seriously; the “I Can’t Fight This Feeling Anymore” scene goes on for way too long, and it becomes boring real fast.) It’s as if Williams was hoping the quirkiness of this story would cover her first attempt at directing, and instead it puts a laser focus on it. And that’s saying something from me, a gal who was hoping to get lost in this film’s sauce.
I did love Carla Gugino as Lisa’s step-mom Janet. (And if you think this film slides in a “Dammit Janet” reference? Bingo!) Gugino knows exactly what she’s signed up for, and chews the scenery with aplomb. Special shout-out goes to Lisa’s step-sister Taffy, played by Liza Soberano. Taffy is a melting pot of movie cliché contradictions; a cheerleader who’s actually a sweetheart, a “skank” who’s smart (don’t tell anyone though), and Soberano balances Taffy’s layers skillfully. As for leads Newton and Cole Sprouse? They do the best they can with what they’ve got, but they’re bland leads compared to the over-the-top shenanigans going on around them. Again, a more experience director could have pulled out more meaningful performances, but here? It felt as if that was too much to think about on top of everything else the film demanded.
There are moments to enjoy, as roses among whatever the hell else is attempting to grow in my garden…oh wait. Sorry. But you get me. The idea of using a malfunctioning tanning bed – one Taffy one in an apparently cut-rate Hawaiian Tropic beauty pageant – as The Creature’s way of bringing added body parts to life, is inspired. So is the way The Creature becomes more and more “alive” with each shock/added part. Then there’s a Bride of Frankenstein-esque black-and-white scene when Lisa and her stitched-up man realize their feelings are mutual, and I’d have loved more of that as Lisa’s inner monologue.
But the bad makeup on Sprouse (was that supposed to be intentional? I don’t know), the wasted opportunity of Chekov’s Earring (c’mon, it’s RIGHT THERE), and the use of “I Can See Clearly Now” as an of-the-moment song for the story, when something by…oh, any 80s artist, would have been a better choice? There must be tons of one-hit-wonders who’d have accepted a lowball if your budget was a concern, y’all. All of this, plus the hollowness of the film’s overall feel, confusing pacing, and my overall inability to connect with the characters in any meaningful way thanks to watery portrayals that, with a cast that’s done better elsewhere? Can only be laid at the feet of the director. All wrapped up with a final scene that feels as if the editor was given only one take to work with, shrugged, and said okay let’s do this then. [See my ]at the bottom of the page if you can take me ranting about the final scene for a sentence or five.]
I look forward to Zelda Williams’ next few films. She, like Lisa, has good bones. But she needs a little something-something. May I suggest NOT hitting that tanning bed, though?
#Protip: If you’re looking for more Frankenstein fare with a woman front and center? Check out May or The Angry Black Girl and Her Monster. If you’re wanting a more offbeat vibe, like Lisa has? Then Frankenhooker might be just what you’re looking for. (Second note to self: put Frankenhooker on this year’s list too…)
[SPOILER WARNING]
[I MEAN IT]
[FOR REAL THOUGH]
[TURN BACK NOW IF YOU HATE THE SPOILAGE]
[SPOILER: seriously; was Lisa supposed to have been dead that whole time, and only just woke up? Or was she relaxing, and her eyes opening supposed to be the closing shot? It’s confusing, as the scene is paced, staged, and shot strangely. The shot of Lisa’s eyes opening is too brief for a Big Reveal. And there are too many after-beats once her eyes open. So I just assumed it was a poor directorial choice.]
