Criterion resurrects Guillermo del Toro’s Frankenstein this October with an extended director’s cut

We’ve known for a while that Guillermo del Toro’s Frankenstein was getting the Criterion treatment—because frankly, was there ever a doubt? But now Criterion’s gone and dropped the date: you’ll find it creeping onto 4K Ultra HD and Blu-ray shelves on the 27th of October. That’s not even the headline. Here’s the bit worth raising your eyebrows for: alongside the normal theatrical cut, you’re getting a brand new ‘Reborn’ director’s cut that runs for a whopping 158 minutes. That’s nearly ten minutes more than the original release, so clearly del Toro’s been allowed to let it all breathe.

What’s Bundled in the Box?

This Criterion release is absolutely loaded—proper collector’s stuff, not just a nice slipcover. Here’s what you’re getting:

• 4K masters of both the theatrical version and ‘Frankenstein: The Reborn Cut’, with Dolby Atmos sound, because it’s 2026 and your soundbar demands sustenance.
• Dolby Vision HDR on the 4K UHD discs (that’s two of them) and Blu-rays with both versions and the rest of the bells and whistles.
• A fresh audio commentary from del Toro himself—on the extended cut. Expect anecdotes, references to lost classic horror, and him saying ‘monstrous’ at least five times.
• The Anatomy Lesson: Director’s Cut: new documentary all about the making of the film.
• The Parlour: a lengthy sit-down of del Toro chatting craft with stars Jacob Elordi, Mia Goth, Oscar Isaac, and the key crew—cinematographer Dan Laustsen; production designer Tamara Deverell; costume designer Kate Hawley; and creature designer Mike Hill.
• Q&As hosted by Martin Scorsese (yes, that Martin Scorsese) and musician Patti Smith, which is a sentence I didn’t expect to type today.
• Composer Alexandre Desplat gets interviewed by film-music scholar Jon Burlingame.
• The trailer, for those who like their nostalgia in 90-second bites.
• English subtitles, descriptive audio, all the accessibility bases covered.
• Plus: An essay from Christopher Frayling, who knows more about horror and gothic cinema than most people do about their own families.
• And, because it’s Criterion: new cover art by Denver Balbaboco, which—credit where it’s due—looks rather lovely.

What's Actually in the Extended Cut?

The new director’s cut stretches nearly ten minutes longer than what played in cinemas. Criterion haven’t spilled exactly what’s been added, but if you’re the betting type you’d put a few quid on it including the infamous seven-minute sequence del Toro chopped after James Cameron apparently leaned on him to keep things lean. Whether this changes the film’s pacing problems remains to be seen—del Toro’s never been short of ambition, and directors’ cuts are famously a mixed bag.

Early Reactions: Worth the Hype?

Frankenstein debuted at the Toronto International Film Festival, and our chap Chris Bumbray had some measured thoughts. He was properly impressed by the craftsmanship, but didn’t quite stick it on the classic shelf:

“While I can’t quite call this my favorite Frankenstein adaptation, I’ll admit the overly drawn-out first half tested my patience. Still, once the movie finds its footing, the second half is close to brilliant. Even if it’s uneven and slow to start, it ultimately blossoms into something powerful, a film that demands to be seen. It may take longer than it should to arrive at its peak, but when it does, it’s a striking reminder of what happens when a filmmaker is granted the freedom to pursue an undiluted vision. Del Toro has earned that privilege, and the result, while imperfect, is still essential viewing.”

For some, that’s likely all the endorsement needed. For others, it just means you’ll need extra biscuits for the first act.