Bride of Frankenstein (1935)

James Whale's extravagantly produced sequel ranks as one of horrordom's greatest achievements, with wittily eccentric direction, Elsa Lanchester's electric hairdo, Ernest Thesiger's ingenious Dr Pretorius and Boris Karloff's poignant yet pushy monster. Some scenes, like the unveiling of the bride, are of emphatic classic status.

The critic ranks Bride of Frankenstein as the top Frankenstein film overall, highlighting its exciting and haunting take on the mythos with rich story, queer subtext, pathos, hysteria and a classic feast for the senses in its climactic scene.

The critic calls it one of the most beguiling American films ever made, outstripping the original Frankenstein in invention, visual splendour, humour, subversion and subtle characterisations. They single out the performances of Karloff, Lanchester and Thesiger, along with the art direction, cinematography and Whale's deft direction blending horror, satire and whimsy.

Ebert praises it as the best of the Frankenstein films, a sly subversive masterpiece of art direction that blends satire, excitement and humor while allowing the Monster more depth and speech.

The critic ranks Bride of Frankenstein as the best in the Frankenstein series for being stranger, funnier and more beautiful than its predecessor, praising its oddball touches like the Mary Shelley framing device and the melancholy ending.

The review calls it a first-rate horror film with excellent direction by Whale, strong performances especially from Karloff as the Monster, and effective settings, photography and makeup.

The critic calls it a tremendous sequel with a clever prologue, macabre humour and sense of parody. Strong on atmosphere, Gothic sets and expressionist camerawork, it is one of Whale's most perfectly realised movies and a delight from start to finish.

King describes the film as one of the rare cases where the sequel is even better than the original, highlighting its entertaining blend of horror and humor along with strong documentary extras on the DVD.

The piece presents the film as a wild ride that mixes classical and gutter elements with camp and serious tones. It highlights Karloff's returning monster with dialogue, Clive's hysterical doctor, Thesiger's flamboyant Pretorius, and Lanchester's iconic bride.

The review finds it a romp with Karloff investing the Monster with real emotion and touching moments, Thesiger diabolically effective as Pretorius, and Lanchester impressive in her dual roles, though more time could have been spent on the Bride.

The film is an improvement over its predecessor in every respect, with a more complex story, more dynamic direction, and a colourful cast. Karloff’s Monster and Thesiger’s Pretorius stand out as highlights in one of the darkest, funniest, and most unique horror films ever made.

The critic calls Bride of Frankenstein one of the greatest horror sequels ever made and James Whale’s magnum opus, a more polished and ambitious film than the original with dynamic direction and iconic imagery.

The critic highlights the film's exploration of clashing Gothic themes and praises Elsa Lanchester's stunning performance as the Bride for her nuanced gestures and agency. It commends the iconic costuming, production design, and score while noting the moral complexity and sympathetic portrayal of the creature.

The piece celebrates the sequel's deeper dive into morality and the creation of the Bride, singling out Elsa Lanchester's memorable performance and the film's iconic imagery and effects as reshaping horror cinema. It views both films as enduring classics with powerful contrasts between terror and humanity.