The reason Guillermo del Toro’s *Frankenstein* will make its debut in cinemas before eventually arriving on Netflix is, without question, rooted in the filmmaker’s profound and long-standing commitment to preserving the art of the theatrical experience. For del Toro—whose filmography reflects a deep reverence for visual storytelling, cinematic craftsmanship, and the immersive atmosphere of a theater—releasing his passion project on the big screen is not merely a formality but an essential part of its creative realization. Beyond his personal artistic vision, the decision is also a pragmatic one: in order for a film to be considered during awards season, a theatrical run remains a necessary prerequisite under industry standards. This dual motivation, both heartfelt and strategic, illuminates why *Frankenstein* is stepping into theaters ahead of its streaming premiere.
A similar logic influenced Netflix’s earlier success with *KPop Demon Hunters*, a surprise animated hit that quietly appeared in select theaters this past August. Those limited screenings served not only to build buzz but also to ensure the film’s eligibility for critical recognition. Due to overwhelming audience response, the movie is set to return to theaters once again this Halloween, demonstrating that calculated theatrical exposure can remain a powerful complement to Netflix’s streaming-driven distribution model. Yet even with that precedent of accessibility across various theater chains, fans hoping to witness Oscar Isaac—known for *Moon Knight*—and Jacob Elordi—of *Euphoria* acclaim—inhabiting iconic roles in *Frankenstein* will find the task surprisingly challenging; the film’s limited run is proving as enigmatic and elusive as the creature it portrays.
Unlike *KPop Demon Hunters*, which benefited from a distribution partnership between Netflix and AMC Theatres, del Toro’s *Frankenstein* will bypass all AMC locations entirely. For regular AMC A-List subscribers, who enjoy planning their weekly screenings within a fixed monthly budget, this absence complicates matters considerably. Families who depend on the A-List’s predictable flat fee for their entertainment calendar will now face the added expense of full-priced tickets elsewhere—and for parents of young children, perhaps too young to appreciate del Toro’s gothic artistry, additional childcare costs may further increase the outing’s price tag. For those fortunate viewers with greater flexibility or more generous entertainment budgets, Netflix and del Toro have created a dedicated online ticketing hub to help locate participating venues. However, one word of caution is warranted: accessibility will depend heavily on geography. Theaters screening *Frankenstein* may be sparse, and the closest option might involve a lengthy drive, particularly during the film’s opening weekend. Fortunately, the theatrical rollout is slated to expand in the following week.
Urban moviegoers will, unsurprisingly, have better odds. Take Los Angeles as a prime example—a metropolis celebrated for its abundance of cinemas catering to cinephiles. Despite the city’s size, *Frankenstein* can only be seen at a couple of specific locations: the Egyptian Theatre in Hollywood, which is now operated by Netflix and represents a symbolic choice blending film history with modern streaming innovation, and the Nuart Theatre in Santa Monica, notable for offering a 35mm print that enhances the film’s tactile, analog aesthetic. Across the country, New York City audiences face a similarly constrained selection, with only three venues confirmed to show the movie, including the Angelika Film Center, which likewise plans select 35mm presentations. Most other showings across the nation will be screened digitally—a standard format unless one is lucky enough to secure rare IMAX tickets. As of the latest information, IMAX has yet to post an official listing page for *Frankenstein*, which makes proactive communication essential. Eager fans should therefore contact their local theaters directly or check individual cinema websites rather than relying solely on Netflix’s centralized ticket site.
For those who wish to experience *Frankenstein* in the grandeur of large-format projection, there is hope: Hollywood’s legendary TCL Chinese Theatre is preparing to host the film in IMAX beginning October 27. Adding to the excitement, Guillermo del Toro himself will appear at this iconic venue on October 31 for a special screening event—an appropriately atmospheric Halloween celebration in one of cinema’s most revered spaces. Whether audiences choose to attend during the limited initial release, wait for the broader expansion next week, or prefer to enjoy the film comfortably from home when it streams on Netflix in November, the rollout strategy masterfully combines exclusivity, artistic homage, and modern accessibility.
In the coming weeks, fans of transformational storytelling and monster mythos will decide how best to witness del Toro’s long-awaited vision come to life. And for those curious about what lies ahead in genre entertainment, io9 continues to cover the timelines of major pop culture universes—from *Marvel*, *Star Wars*, and *Star Trek* to the ever-evolving *DC Universe* and the adventures that await in *Doctor Who*. The cinematic rebirth of *Frankenstein* marks one more chapter in the ongoing dialogue between spectacle and streaming, between tradition and innovation—a journey perfectly emblematic of del Toro’s devotion to cinema itself.
Sourse: https://gizmodo.com/good-luck-trying-to-see-guillermo-del-toros-frankenstein-in-theaters-this-weekend-2000673844
