Netflix’s ‘Frankenstein’ Gets a Popcorn Bucket and It Looks Very Much Alive

Guillermo del Toro’s Frankenstein is set to stream on Netflix on November 7, and they are doing whatever is necessary to help subscribers have the ultimate experience. Not only are they showing the film in select theaters, but they have also joined the trend of themed popcorn buckets. Needless to say, the Frankenstein popcorn bucket is as creepy as it is expensive.

The buckets are being sold by Netflix via their online shop. Availability and prices may vary according to what region you’re in, but the merchandise for the movie is massive. From shirts to tumblers, the lineup includes a great variety of items that can be bought at insanely high prices. The collection includes a popcorn bucket shaped like a human skull, priced at $85. No, it doesn’t include any stale popcorn. What it does include is a pair of milky eyes that are sure to give you nightmares.

Guillermo del Toro’s ‘Frankenstein’: An Auteur’s Realized Dream

Netflix

Frankenstein is one of those projects that Guillermo del Toro has been pursuing for literally decades. While he didn’t formally announce his intention to adapt Mary Shelley’s classic until the late 2000s, del Toro’s filmography is filled with the basic elements of monster films. Landing the deal to make Frankenstein wasn’t only natural, but it also seemed inevitable.

More than ten years have passed since he said Frankenstein was his favorite novel, and now he gets the opportunity to fully realize his dream. All with the backing of a studio that’s not afraid to let storytellers fulfill their visions, regardless of the cost. Though the film has cost nearly $120 million, and there’s no guarantee that it will gross half of that, Netflix has given del Toro a blank check. A production of such a scale is rare nowadays, and the director is aware that it may actually be his last chance to make a film of this magnitude. He said the following during a DGA screening:

“The ship is real in every shot. There’s not a single miniature ship. There’s not a digital ship. We built the entire ship. We mechanized the gimble. Every set was built completely from bottom to top. We built some of the biggest sets I’ve ever had. The ship was on two gimbles. One that pushes it when the creature pushes it. It really pushes it with all the sailors on top. And when he pushes it away, it’s on a different gimble. We sawed it in half and put new railings and there were solutions suggested. And I said, ‘I know all that. I’m not doing that.’

“We’re very well versed technically, but I wanted to shoot it the way we would have shot it in the fifties, in the forties. I want to build things. We loomed the fabric for the costumes. We loomed it. It was fabric that didn’t exist. We made it to reflect the circulatory system, the wings of a butterfly, the patterns on a rock. We embroidered everything by hand. I said, ‘I want to do The Last of the Mohicans.’ I’ll never have a chance to do a movie like this again.”