Both Guillermo del Toro's Frankenstein and Ridley Scott's Blade Runner are tales of artificial humans seeking more from their makers: Victor Frankenstein's creature has a lifetime, but no one with whom to share it; Tyrell's replicants have each other, but are running out of precious time. In both cases, the ones being hunted display perhaps the most humanity.
A doctor uses an initial instead of her first name when publishing academic papers, in order to conceal her gender and be taken seriously as a scientist. A woman who works as the secretary to a male police detective is the actual crime-solver of the duo but can't get the job or the recognition she deserves. The prevailing moral code doesn't prevent a policeman from sexually molesting a woman during a traffic stop but does prevent her from reporting it.
This new monster's-wife tale is a rackety, violent black comedy with twists of Rocky Horror and extended homages to the top-hat-and-tails sophistication of Mel Brooks' Young Frankenstein. It's also a gangster joyride from the roaring 20s and 30s with Mr and Mrs F-M reimagined as a kind of post-death Bonnie and Clyde.
The Bride! is a strange metatextual ghost story, a science-fiction horror sequel, and a 1920s mob thriller all in one. It's a hodgepodge of wild ideas and huge swings, and you kind of have to admire it for that. But it's also a huge tonal and stylistic mess.
