Kringe

Limited engagements, if you need me discord is the best bet

[Alexander Dugin @AGDugin]

The very concept of the success is deeply immoral. If you are successful the other is loser. We shouldn’t accept it. We should prosper or suffer together. Otherwise it is satanic.

[Kringe @vonzarovik]

@belet_seri

[Kringe @vonzarovik]

@belet_seri Belet? Are you having flashbacks of the last time you went to the library and your hand- I mean husband made you wear your helmet and vest?

[Kringe @vonzarovik]

Still might...

[Kringe @vonzarovik]

According to you, incorrectly by the way, this is the best war movie in history and you don't even have the respect to use it's actual art?

[Enezator @Enezator]

It was the best war movie in history and it will never be better

[Kringe @vonzarovik]

Look, I like Troy, I've liked it since I seen it in theaters on its opening weekend despite its issues as an adaptation of the Illiad, but let's be completely honest here, one good fight scene does not suddenly make it a criminally underrated cinematic masterpiece

[Noble Knight @FantasyWorldW1]

Morons and disingenuous actors on this site are trying to argue that this is a terrible movie. Insane.

[Pope Leo XIV @Pontifex]

Communion between Christians and Muslims takes shape under the mantle of Our Lady of Africa. Here, in #Algeria, the maternal love of Lalla Meryem gathers everyone as children, within our rich diversity, in our shared aspiration for dignity, love, justice, and peace. In a world where division and wars sow pain and death, living in unity and peace is a compelling sign. #ApostolicJourney

[Kringe @vonzarovik]

Counterpoint, I like Gaiman and will continue to support his work

[Elena Campos @AmazingElena30]

Todos sabemos que Rowling es una mierda y es lícito hacer lo que consideréis y decir lo que creais.
Pero otro autor problemático, que ha hecho atrocidades igual o más graves estrena temporada de una de sus adaptaciones este año. A ver si tenéis la misma energía con él y su serie

[Kringe @vonzarovik]

@belet_seri

[Victoria A @iamzioraa]

smile if your d!ck is big.

[Kringe @vonzarovik]

@belet_seri "rouge"

[Kringe @vonzarovik]

Oh God you're serious

[ImmortalisVerse (☥𝐃𝐁) @ImmortalVerseDB]

GUILLERMO DEL TORO'S FRANKENSTEIN

A Grand Gothic Revival

Guillermo del Toros 2025 adaptation of Frankenstein or The Modern Prometheus is a work of remarkable ambition. It is not a simple retelling of a familiar myth. Instead, it is a sweeping and emotionally charged re-evaluation of a story that has travelled across centuries, cultures, and cinematic traditions. Del Toros film respects that lineage yet refuses to be bound by it. What emerges is a bold and deeply Gothic study of creation, loneliness, and consequence. It invites the audience to stand beside the creature rather than recoil from him.

From the Novel to the Major Studio Traditions

Mary Shelleys novel remains the foundation of every adaptation. It is an inquiry into forbidden knowledge, moral responsibility, and the pain of being brought into a world that never asked for you. The shifting voices in the book, especially the creatures own long confession, form the moral heart of the story. Many screen versions soften or remove this voice. Del Toro restores it.

The Universal Pictures cycle in the early twentieth century created the most enduring visual language of the creature. Flat forehead, scarred skin, heavy boots, the anguished silhouette that became an icon long after the story itself faded for many viewers. Universal focused on tragedy and spectacle rather than the creatures' philosophical reflections.

The Hammer films of the mid-twentieth century brought vivid colour, rich Gothic settings, and a sharper interest in the scientists' cruelty. Peter Cushings Victor was cold, ambitious, and relentless. In many ways, Hammer shifted the balance so that the true horror rested not in the creature but in the mind of the man who made him.

Kenneth Branaghs Mary Shelleys Frankenstein in 1994 brought a different emphasis. It attempted fidelity to the emotional density of the novel. Robert De Niros creature was allowed to speak and to ache. The film understood that the monster is more victim than the villain and that the true subject of the story is abandonment.

Del Toros' new version carries lessons from all of these earlier interpretations but chooses a different road entirely.

Del Toros Reorientation of the Story

Del Toro places the creature at the centre of the narrative. This choice immediately alters the emotional structure of the film. The audience is not merely witness to a laboratory miracle gone wrong. Instead, we inhabit the creatures first sensations, his confusion, his grief, and the slow discovery of his place in a world that does not want him. The familiar Arctic frame returns but is used here to position the creature as the one who demands answers.

This approach is not sentimental. Del Toros creature is capable of violence and rage. Yet his anger is always rooted in emotional truth. The film asserts that monstrosity emerges from pain rather than from nature. By giving the creature vision voice and interiority, del Toro restores the moral symmetry of Shelleys book.

Cinematography and Gothic Atmosphere

The cinematography elevates the film into a realm between dream and nightmare. Long shadows stretch across stone floors. Candlelight flickers against the polished surfaces of Victor Frankensteins laboratory. Storms roll and coil over mountains. The Arctic sequences feel vast, cold, and ancient. The camera often lingers on the creatures face, encouraging the viewer to observe rather than judge.

Del Toro sets the film in the mid nineteenth century, a period marked by the early rise of industrial science. This allows a visual vocabulary filled with copper coils, arc lights, polished glass, anatomical sketches, and early photographic devices. These images create a sense of human ambition that is both wondrous and chilling.

The laboratory scenes are especially memorable.

[Kringe @vonzarovik]

My workstation reeks of stripper and alcohol

[Kringe @vonzarovik]

@Cthulhu_OwO I've been really angry lately and need to find some punching bags

[Kringe @vonzarovik]

I think I'm back

[Kringe @vonzarovik]

Because Akira, like a lot of anime from that era is the definition of style over substance

[Owlmandias @0wlAfter]

Akira is an intersting case of a movie being referenced for decades based purely on aesthetics and not the contents of the work itself.

[Kringe @vonzarovik]

@215Hyde Which is a shame, I miss villains that do for the love of the game

[Kringe @vonzarovik]

this is who runs this account

[Jack Maniackie 𝕍𝕀ℂ𝔼 @215Hyde]

this is who runs this account

[Kringe @vonzarovik]

@215Hyde We need more people who are evil for...

[Kringe @vonzarovik]

Tolkien ruined fantasy writers

[Tolkien World @TolkienWorldG]

What's your LOTR opinion that'll have fans at you like this?

[Kringe @vonzarovik]

@KathAntonio7 I used descriptive terms, but I allow them to make a skill check to get an guess what health quarter it's in

[Kringe @vonzarovik]

@215Hyde That's a lot of urban fantasy stuff from that era. LaCroix is entertaining though