Based on Frankenstein; or, The Modern Prometheus by Mary Shelley
Produced by: Maggie Gyllenhaal, Emma Tillinger Koskoff, Talia Kleinhendler, Osnat Handelsman-Keren, etc.
Main cast: Jessie Buckley, Christian Bale, Peter Sarsgaard, Annette Bening, Penelope Cruz, Jake Gyllenhaal, etc.
Cinematography by Lawrence Sher
** May Contain Spoilers **
Maggie Gyllenhaal’s THE BRIDE! (2026) is a film bursting with ideas—sometimes thrillingly so, sometimes to its own detriment. Drawing inspiration from Bride of Frankenstein (1935) and ultimately Mary Shelley’s seminal novel, Frankenstein, Gyllenhaal transplants the myth into a Gothic vision of 1930s Depression-era America, filtered through the anarchic spirit of outlaw cinema like Bonnie and Clyde (1967) and Natural Born Killers (1994). The result is frequently intoxicating. The film opens with an inspired flourish—Mary Shelley herself narrating from beyond the grave—immediately signalling the director’s playful ambition. Visually, the film is extraordinary: lavish period design, smoky Gothic textures, and a lurid romanticism that feels both classic Hollywood and defiantly post-modern.
At the centre of the mayhem is Jessie Buckley, delivering yet another unforgettable performance. Her ‘Bride’ is feral, seductive, and volatile—an electrifying feminist creature of impulses and contradictions. Buckley plays her with a kind of joyous unpredictability, veering between danger, sexuality, and sudden jolts of manic dialogue that feel almost Tourette-like in their intensity. Opposite her, Christian Bale lends gravitas as her monstrous partner, and together they rampage across a mythicised America in a lovers-on-the-run narrative that often feels gleefully unhinged.
Yet for all its invention, THE BRIDE! (2026) often collapses under the sheer weight of its ambitions. Gyllenhaal’s screenplay seems determined to juggle too many ideas at once—meta-narration, Gothic tragedy, outlaw romance, and genre pastiche—without giving any one of them the structural discipline they require. The direction follows suit, veering between tones so abruptly that the film begins to feel atonal rather than daring. Key twists arrive with little groundwork, leaving major emotional beats feeling strangely hollow.
By the final act, the film’s wild energy begins to resemble narrative confusion. Plot holes emerge, character motivations blur, and revelations arrive as pure payoff without the careful setup that might have made them land. It leaves an odd lingering question: was this an $80 million piece of audacious cinematic art, or an extravagant misfire? Perhaps it is a little of both—a fascinating, chaotic vision whose brilliance flashes intermittently through the fog of its own excess.
Written by: Stephen Zaillian – based on the book I Heard You Paint Houses by Charles Brandt
Produced by: Martin Scorsese, Robert De Niro, Jane Rosenthal, Gaston Pavlovich, Randall Emmett, Emma Tillinger Koskoff, Gerald Chamales, Irwin Winkler
Cast: Robert De Niro, Al Pacino, Joe Pesci, Harvey Keitel, Anna Paquin, Bobby Cannevale, Stephen Graham, Kathrine Narducci, Jesse Plemons, Jack Huston, Ray Romano, Stephanie Kurtzuba and many more.
Cinematography: Rodrigo Prieto
Distribution: Netflix
******MAY CONTAIN SPOILERS ******
“I heard you paint houses…”
As well as watching new films that have yet to be released, one of the pleasures of film festivals can be when the filmmakers, writers, crew and actors themselves attend and introduce their work. Having said that, I’m not usually one for big and lengthy introductions and back-slapping celebration. I’m also not one for star-gazing and celebrity-spotting hysteria. They are just human beings; let them get about their business in peace.
But, when the cinematic geniuses that are: Martin Scorsese, Robert DeNiro, Al Pacino and Harvey Keitel took to the stage for the premiere ofTHE IRISHMAN (2019), even I was star struck! Add the brilliant actors Stephen Graham, Anna Paquin and Jack Huston to the mix and I can confirm I was in the presence of all-round film greatness.
Scorsese is the best genre filmmaker still living today. But what of THE IRISHMAN (2019)? Is it yet another cinematic masterpiece to add to an incredible list of classics that Scorsese has directed? On first watch I would say both yes and no. I sit on a fence because the film is SO long, detailed and intense, I need another sitting to really nail an absolute opinion. It’s very, very good – BUT is it a great? I remember first watchingGoodfellas (1990) and feeling dazed by the end of it. It is now one of my favourite films of all time.
First impressions are that, once again, Scorsese has delivered yet another impeccable film in the gangster movie genre. Film is a collaborative endeavour though and he has surrounded himself with an army of major talents in the production and acting departments.Robert De Niro, who himself, optioned the book on which the film is based, takes the lead as Frank Sheeran. In support are the aforementioned Al Pacino, Harvey Keitel, Stephen Graham, Anna Paquin, Jack Huston and the out-of-retirement Joe Pesci. All work from a superlative screenplay adaptation from uber-writer Steven Zaillian
The story is structured, in many ways, like another gangster classic, Once Upon a Time in America (1984). An elderly character looks back on key aspects on their life; the highs, the lows, the deals, the crimes, the relationships and the bloody carnage. Frank Sheeran, as delivered by De Niro and Scorsese, is another complex presentation of masculinity. He was a trained soldier who did his duty in World War II against the Nazis. Then, on return to America, he found himself driving trucks. With a family to support he finds he cannot turn down the chance to “paint houses” and carry out important work for the mob family run by Russell Bufalino (Joe Pesci). I must say that Pesci is a revelation as the quiet shot caller, in the shadows, giving orders out of the spotlight. His mob boss is the total opposite from the psychopaths he’s played before.
Talking of great performances, Al Pacino as Jimmy Hoffa steals the whole film. It is incredible to think this is the first Scorsese film he has been in. It was definitely worth the wait. De Niro himself is also impressive. His role as narrator and story conduit guides us through many exhilarating scenes involving gangland deals, explosive action and violent hits. Moreover, we are also compellingly embroiled in Hoffa’s Teamster Union business conflicts, as well as, some of the most iconic historical moments from U.S. politics and history.
Scorsese’s approach to style is less frenetic when compared to his other gangster films or the rapid velocity of say, The Wolf of Wall Street (2013). There are fireworks and gunfights of course, plus explosive arguments between the angry and powerful men which inhabited this era. The heated debates between Hoffa (Pacino) and Tony Provenzano (Stephen Graham) are especially memorable. Plus, I liked that Hoffa’s character had very specific demands in regard to time-keeping and punctuality. It’s beautifully filmed but the pace is not as say, rock and roll, as his other films. In one long tense sequence toward the end of the film, Scorsese uses silence rather than trademark rock music to enhance the visuals.
Overall, themes of death, murder, loyalty, friendship, politics and regret dominate the story narrative. From the nursing home where Frank Sheeran begins his epic tale, to the multitude of hits and shootouts we experience, the Grim Reaper follows these characters like a constant shadow. I wasn’t sure how I was meant to feel about Frank Sheeran by the end. He is a complex character who, as a trained killer, is difficult to empathise with. But his, the bosses and Hoffa’s stories are compelling nonetheless. However, the last part of the film raises a lot of emotionally painful questions with equally difficult answers.
Lastly, certain things about the film, such as the “de-aging” CGI and lengthy running time, detracted from my initial enjoyment. However, Netflix have an absolute monster of a gangster film here, with Scorsese once again delivering a very special cinematic offering. The irony is that it will only have a limited theatre release. THE IRISHMAN (2019), therefore, deserves to be painted and seen on the biggest screen you can find.
The Cinema Fix presents 