FindKey

FindKeyは、100万件を超える映画・ドラマ作品、そして数百万人の人物データと独自の16類型CTI診断を統合した、日本初の感情特化型映画レコメンドエンジンです。

Find (見つける) + Key (鍵・正解)

映画に限らず、人生のヒントを見つける場所です。

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フランケンシュタイン
フランケンシュタイン

フランケンシュタイン

“我ら ともに 怪物とならん。”

20252h 30m★ 7.7ドラマファンタジーホラー

あらすじ

ひとりの天才科学者と、その野心が創り出した恐ろしい怪物をめぐるメアリー・シェリーの古典小説の名作を、アカデミー賞受賞のギレルモ・デル・トロ監督が新たな視点で映像化。

作品考察・見どころ

本作は怪奇映画の古典を再定義する野心作です。豪華キャストが単なる恐怖を超えた「生と死の境界線」に立つ孤独と苦悩を鮮烈に体現しています。神の領域に踏み込む人間の傲慢さと、被造物が抱く根源的な悲哀が、圧倒的な映像美の中で交錯し、観る者の倫理観を激しく揺さぶります。 メアリー・シェリーの原作が持つ内省的な深みを、映像ならではの肉体的な生々しさへと昇華させている点が見事です。文字では捉えきれない異形者の「眼差し」の痛切さは、映画というメディアだからこそ成し得た表現であり、古典の魂を現代的な孤独の物語として見事に再生させています。

原作・関連書籍

映画化された原作や関連書籍を読んで、映像との違いや独自の世界観を楽しみましょう。

興行成績

製作費: $120,000,000 (180億円)

興行収入: $480,678 (1億円)

推定収支: $-119,519,322 (-179億円)

※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。

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特集レポート

FindKeyのエディトリアルチームがこの作品の深層や歴史を解説しています。

孤独な夜に寄り添う、アメリカの空の下で紡がれる「心の再生」セレクション

FindKey Editorial2026/1/21

魂を洗う夜に——孤独な没入感で涙を流し、心を再生させる傑作選

FindKey Editorial2026/1/21

古の騎士道から理性の夜明けまで――西洋の魂を揺り動かす、時を超えた歴史探訪の案内

FindKey Editorial2026/1/18

キャスト

オスカー・アイザック
オスカー・アイザック
Victor Frankenstein
ジェイコブ・エロルディ
ジェイコブ・エロルディ
The Creature
クリストフ・ヴァルツ
クリストフ・ヴァルツ
Harlander
ミア・ゴス
ミア・ゴス
Elizabeth / Claire Frankenstein
フェリックス・カマラー
フェリックス・カマラー
William Frankenstein
チャールズ・ダンス
チャールズ・ダンス
Leopold Frankenstein
デイビッド・ブラッドリー
デイビッド・ブラッドリー
Blind Man
ラース・ミケルセン
ラース・ミケルセン
Captain Anderson
Christian Convery
Christian Convery
Young Victor Frankenstein
ニコライ・リー・コス
ニコライ・リー・コス
Chief Officer Larsen

スタッフ・制作会社

監督: ギレルモ・デル・トロ

脚本: メアリー・シェリー / ギレルモ・デル・トロ

音楽: アレクサンドル・デスプラ

制作: J・マイルズ・デイル / ギレルモ・デル・トロ / スコット・ステューバー

撮影監督: ダン・ローストセン

制作会社: Double Dare You / Demilo Films / Bluegrass 7

TMDB ユーザーのレビュー

Manuel São Bento
Manuel São Bento
★ 8

FULL SPOILER-FREE REVIEW @ fandomwire.com/frankenstein-review/ "Frankenstein is a powerful, visceral film that solidifies Guillermo del Toro as a master of atmosphere and emotion. Thanks to Jacob Elordi's transcendent performance as The Creature and exceptional multi-departmental work, the movie takes the legendary tale and transforms it into a deep, complex meditation on human fallibility and the terror of rejection. It's a visual and thematic experience that demands patience and personal, intellectual, and emotional investment. Shockingly violent, it's undeniably one of the most important stories of the year. The combination of geniuses in front of and behind the camera results in a feature that confronts us with an undeniable truth: the tale of Frankenstein isn't about creating a monster; it's about the eternal and necessary challenge of recognizing our own humanity in those we reject." Rating: A-

CinemaSerf
CinemaSerf
★ 7

This has got be Oscar Isaac at his best yet, depicting the obsessive scientist hell-bent on proving that he could use science to defeat death itself. He is the son of an acclaimed but rather brutal physician (Charles Dance) and is galvanised further to his chosen path by the sudden death of his mother. His theories disgust civilised society but the wealthy “Harlander” (Christophe Waltz) agrees to fund his experiments to what he hopes will be their logical conclusion. Now secreted away in his remote castle, and quite literally cannibalising spare parts from graveyards and mortuaries alike, he awaits that lightning storm that could just bring Jacob Elordi to life. The problem for the Baron is that he is disappointed with his creation and has no concept that it looks to him very much as a father. Imprisoned in the basement, the “monster” is befriended by “Elizabeth” (Mia Goth) who sympathises with it’s ghastly predicament - but before she can help a great conflagration sets in train a cat and mouse struggle between created and creator that takes them to the depths of the frozen wastes where an exploration ship is trapped in thick pack ice - where our story both starts and concludes. Isaac really does own his megalomaniac obsessive role here and the whole creative effort put into the production design turns this from simple science fiction into a multi-textured love story with it’s fair share of moral dilemmas, hate and loathing too. Elordi? Well he does bring back memories of Christopher Lee in this role, only here is is also rewarded with an extra degree of articulation and towards the end, more of a conscience and even an amount of personality - and he manages to portray his character’s frustrated and confused conflict well, if fairly sparingly. Whilst there are common points of reference with earlier iterations of this story, this enlivens it in a far more characterful and in many ways more justifiable way, and I thought it flew by. Big screen if you can, though Netflix does seem to have limited it’s cinema release quite a bit, because it might lose much of it’s stylish and gothic menace as well as it’s emotionally-charged nuance on a small screen.

Chandler Danier
Chandler Danier
★ 6

I walked in at 44 minutes. The last hour and 45 has less whinging in accents. Bad Lighthouse. Swearengen in Wick 4. I went to a restaurant and they were playing this as though it was a serious movie. One could not pass through the projector beam. I could see my hair in the letterbox. I'm glad I didn't see this all in the theatre. I watched the beginning later to see what I missed and I was not pleased. Mia Goth touching his wound. Nice. Hoped for more from that treasure trove. Forest Spirit learns to read. Nice. Victor tries too hard in character and on screen. Fr-long-bullshit-stein.

rssp55
rssp55

Why is the creature a hot guy? WHY? Netflix has a thing with hottening everyone lately, even Ed Gein, and I just don't get it. As with any GDT film, it is exceedingly interesting visually, and I'd go so far as to say his visual language rivals Tim Burton in excellence. This film is a visual marvel in basically every scene, a veritable feast for the eyes. There are some great performances, especially among the bit players: Charles Dance, Christoph Waltz, and David Bradley in particular. The real bummer, though, is that much of the book is left out and/or reimagined, so if you like the story as it is written, you'll probably be a little disappointed as I was. Also, read the book. It's great.

Nick
Nick
★ 10

guillermo del toro brings frankenstein back to life with so much heart and atmosphere. the world feels dark and gothic, but never without compassion. the performances hit hard, especially in how they show the creature’s loneliness and longing to be understood

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