Lisa Frankenstein is a 2024 American romantic comedy horror film directed by Zelda Williams, in her feature-length directorial debut, and written by Diablo Cody.

The film stars Kathryn Newton, Cole Sprouse, Liza Soberano, Henry Eikenberry, Joe Chrest, and Carla Gugino.

With the police beginning to close in on them, Lisa implores the Creature to burn her alive in the tanning bed to avoid being arrested, to which he complies.

Diablo Cody wrote the script for Lisa Frankenstein, and she announced that she would be producing the film with collaborator Mason Novick in June 2022.

Zelda Williams made her feature-length debut as the director of the film, which was revealed to be starring Kathryn Newton and Cole Sprouse.

Further casting announcements of Liza Soberano, Carla Gugino, Joe Chrest, and Henry Eikenberry were revealed in August 2022,[1] around the time when production began filming in New Orleans which was expected to run until September.

[8][9] Some writers covering the film theorized that its title is an amalgamation of "Lisa Frank", a company known for producing brightly colored stickers and school supplies, and Frankenstein.

[15][16] A cover of the REO Speedwagon single, "Can't Fight This Feeling", was sung by American singer JoJo for the soundtrack.

The website's consensus reads: "An affectionate callback to classic horror comedies of the '80s, Lisa Frankenstein can be fun in its own right despite not quite measuring up to the movies it imitates.

[20] Richard Roeper of the Chicago Sun-Times gave the film two out of four stars, writing that it "suffers from Mixed Genre Syndrome and hops from horror spoof to trauma survivor story to pure camp to high school comedy, never really finding its footing.

"[24] Owen Gleiberman of Variety described the film as derivative and "neither scary nor funny", calling it "a horror-com smoothie made mostly of ancient, moldy fruit.

[26] IndieWire's David Ehrlich gave the film a grade of "C", commending the performances of Newton and Sprouse but lamenting that, "Scenes have no shape to them, the world feels half-built, and the reality that supposedly holds them together is too erratic for Williams to establish any kind of emotional baseline.

"[30] The New York Times' Alissa Wilkinson also praised the production design, and concluded: "Brief, pleasant and fun to look at, the movie is not interested in anything more than love and being understood, and in that way it's a great callback to teen romances from an earlier era.