Maggie Gyllenhaal
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Filmography
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Connections, in both directions
…and later we get a long car-chase sequence that leans heavily on the 1967 "Bonnie and Clyde."
…the references to other movies often fall flat (among others, there are allusions to Cabaret, Bonnie and Clyde, Joker, Swing Time, and, of course, Young Frankenstein)…
…las fugas de la pareja protagonista que recuerdan mucho a las de Bonnie and Clyde…
The visuals, the references-- you know, I came out of there just, like, wanting to turn Bonnie and Clyde back on, you know, like wanting to see all my fun things again.
From Bonnie and Clyde and Barbara Stanwyck’s Baby Face to Fred Astaire and Ginger Rogers’ musicals…
…visuals that nod directly to Arthur Penn’s Bonnie and Clyde…
…brought back to life by tubes attached and “Poor Things”-style cathodes hooked up…
It's a chaotic take that's more Poor Things than Universal Monsters, albeit a traditional Frankenstein interpretation.
When films like Poor Things tackle similar ideas of independence and choice, it begs the question from those looking for how The Bride! tries to make its own mark, and sadly, it doesn't completely.
It’s obvious that Gyllenhaal envied Emma Stone’s sex-toy portrayal in Poor Things, the Yorgos Lanthimos gyno-obscenity.
When Lady Gaga’s Joker: Folie à Deux and Emma Stone’s Poor Things already exist as superior Bride of Frankenstein motifs of recent years…
…if one wanted a good modern Bride of Frankenstein riff, Poor Things remains available for you to watch.
There's an elaborate black-and-white dance scene, actually set to "Puttin' on the Ritz," that is boldly copped from Mel Brooks' 1974 "Young Frankenstein,"…
…the references to other movies often fall flat (among others, there are allusions to Cabaret, Bonnie and Clyde, Joker, Swing Time, and, of course, Young Frankenstein)…
How else can one reconcile scenes like the one where Frank and Ida perform an elaborate dance number to “Putting on the Ritz,” famously featured in Mel Brooks’ Young Frankenstein?
…a ritzy sequence that briefly recalls the very best bit in Mel Brooks’s Young Frankenstein…
…extended homages to the top-hat-and-tails sophistication of Mel Brooks’ Young Frankenstein…
…leading to fantasy dance sequences that are a split between Astaire/Rogers pictures and Mel Brooks’ Young Frankenstein.
Natural Born Killers (1994)
Directed by Oliver Stone
influenced The Bride! (2026)
Visuals Themes Plot Characters
It's the Moulin Rouge! of monster movies. Or maybe it's the Natural Born Killers of monster movies. Or maybe it's both.
…the doomed nihilistic romanticism of NATURAL BORN KILLERS…
Drawing freely from a vast store of vintage and unofficial Frankenstein narratives—as well as from old Hollywood gangster pictures, Busby Berkeley musicals, and honeymoon-killer classics like Bonnie and Clyde and Natural Born Killers…
…the anarchic, media-saturated nihilism of Natural Born Killers.
Ida’s call to arms for oppressed women, set against the background of her and Frank’s crime spree, plays out like a less caustic version of Natural Born Killers.
Mickey and Mallory from "Natural Born Killers" would be a more money-making analogy, but this journey through post-Depression America doesn't have the same sardonic zing.
The spiritual and aesthetic connection to the Joker duology, especially to its second film (yes, there are musical numbers here), is also something that is bound to haunt the discussion around Gyllenhaal’s film…
…the references to other movies often fall flat (among others, there are allusions to Cabaret, Bonnie and Clyde, Joker, Swing Time, and, of course, Young Frankenstein)…
Lawrence Sher’s cinematography bathes the film in a mixture of smoky chiaroscuro and theatrical spotlights that evoke the vintage tension of his work on Todd Phillips’ Joker…
Visually, it’s messy yet striking as well, with cinematographer Lawrence Sher doing things not dissimilar from what he did on Joker.
La cercanía estética de ¡La novia! a la “versión prestigiosa” de personajes e historias que vienen del cómic, como las películas de Joker…
While the film does stumble in the writing department, production designer Karen Murphy and costume designer Sandy Powell transform the film into a vivid, glittering 1930s playground. The film frequently invites Joker comparisons, an association made unavoidable by the presence of cinematographer Lawrence Sher and composer Hildur Guðnadóttir.
You could add the punk nature of Sid and Nancy…
Love story: Can you get audiences to root for the monster couple (like Romeo and Juliet) or be awed by their depravity (like Sid and Nancy).
Sid & Nancy…
Buckley, who kept reminding me of Chloe Webb in Sid and Nancy, has a marvelous insouciant deadpan as the nattering Bride, covering a fiercely angry heart.
…a go-for-broke reimagining of The Bride of Frankenstein by way of Sid and Nancy…
I was here to see a monster movie take on the structure of a Bonnie & Clyde meets Sid & Nancy…
…with Guillermo del Toro’s FRANKENSTEIN and now this film…
One of many times in which The Bride! is unfortunate in its timing so soon after Guillermo del Toro’s ravishing Frankenstein is the lab reanimation process, absent here of any mounting tension. The same applies to Bale’s monster, who swoons and chuckles over elegant movie musicals featuring matinee idol Ronnie Reed (Jake Gyllenhaal), but can’t match the depth of feeling Jacob Elordi brought to the role for del Toro.
…which was about a week after watching the Guillermo del Toro Frankenstein and kind of getting to see these extremely audacious, kind of idiosyncratic visions of Frankenstein and the Frankenstein myth kind of in strange conversation with each other.
…it seemed likely that it didn’t want to debut directly alongside Guillermo del Toro’s Frankenstein…
After last year’s Frankenstein film from Guillermo del Toro…
It would be unfair to make comparisons to Guillermo del Toro’s recent, Oscar-nominated “Frankenstein,” but at times these two find some of the wounded tenderness Jacob Elordi evoked to such a high degree in the del Toro film.
The Rocky Horror Picture Show (1975)
Directed by Jim Sharman
influenced The Bride! (2026)
Visuals Themes
…and The Rocky Horror Picture Show…
Homenaje al terror clase B, al gore y a los clásicos de monstruos de la Universal, a las historias de amor épicas y trágicas que van desde Romeo y Julieta hasta Bonnie & Clyde, al musical paródico con estética camp con citas que incluyen a El joven Frankenstein, The Rocky Horror Picture Show y Cabaret, a las películas de gánsteres, al film noir (Pacto de sangre / Double Indemnity), a las screwball comedies (Ayuno de amor / His Girl Friday), a las road movies (Thelma & Louise), pero también con elementos que remiten de forma directa a la exitosa Guasón y al despliegue pop de Zack Snyder…
…a rackety, violent black comedy with twists of Rocky Horror…
It’s not unlike The Rocky Horror Picture Show.
…carries a vibe that reminds me of The Rocky Horror Picture Show…
But there are also big nods to wilder takes on the legend, including YOUNG FRANKENSTEIN and THE ROCKY HORROR PICTURE SHOW and even movies that have nothing to do with FRANKENSTEIN, like BONNIE AND CLYDE.
…with a side of “Wild at Heart,”…
Wild at Heart is probably the best point of comparison — a doomed and complicated couple on a nightmarish yet beautiful road trip. Sure, these ones are literal monsters.
A mix of classic horror and “Bonnie and Clyde,” with a side of “Wild at Heart,”…
David Lynch’s Wild at Heart…
Reconceiving the tale as an art deco, neon-infused, lovers-on-the-run story — as much Wild at Heart as Bonnie & Clyde…
It's the Moulin Rouge! of monster movies. Or maybe it's the Natural Born Killers of monster movies. Or maybe it's both.
Imagine Moulin Rouge! (both films earning their exclamation points) remounted as a proto-feminist horror movie, and you’ll begin to get a sense of the wild swings being taken here.
…part tragic romance, part gangster drama and part, I don’t know, “Moulin Rouge” spectacle…
But Maggie Gyllenhaal’s The Bride! earns its exclamation point like no movie since Moulin Rouge!
…leading to some chaos that veers from Bonnie & Clyde to Moulin Rouge…
Here, it's an underground variant of Cabaret, shot with an exploitative lens that's more Todd Browning than the Baz Luhrmann it desires.
…a particularly charming, campy, Americana gothic aesthetic that is reminiscent of Cabaret…
…when the grungy club scenes arise, they’re reminiscent of “Cabaret”…
Homenaje al terror clase B, al gore y a los clásicos de monstruos de la Universal, a las historias de amor épicas y trágicas que van desde Romeo y Julieta hasta Bonnie & Clyde, al musical paródico con estética camp con citas que incluyen a El joven Frankenstein, The Rocky Horror Picture Show y Cabaret, a las películas de gánsteres, al film noir (Pacto de sangre / Double Indemnity), a las screwball comedies (Ayuno de amor / His Girl Friday), a las road movies (Thelma & Louise), pero también con elementos que remiten de forma directa a la exitosa Guasón y al despliegue pop de Zack Snyder…
…there are allusions to Cabaret…
Gyllenhaal has cited Fritz Lang's Metropolis as an inspiration as well.
Frayed posters allude to Fritz Lang’s Metropolis.
…la reanimación de Ida por ejemplo es un homenaje a Metropolis de Fritz Lang…
The hair, makeup, and costumes also make this version of the Bride distinct from previous iterations, with her appearance resembling an homage to Brigitte Helm in Fritz Lang’s Metropolis (1927).
…son evidentes las referencias al ‘Metropolis’ de Fritz Lang (1927)…
Its jumble of movie references, witting or otherwise, include Pennies from Heaven, Metropolis, and Dick Tracy, as well as the James Whale classics Frankenstein and Bride of Frankenstein…
That the initial death is sparked by a sexual assault links this to the feminist buddy caper Thelma & Louise.
…a las road movies (Thelma & Louise)…
…a road adventure like “Thelma & Louise,”…
“The Bride!” is a bit of a pastiche (it echoes movies from “Joker: Folie à Deux” to “Thelma & Louise”), but it’s also a debauched fairy tale with teeth.
…less like Bonnie and Clyde than a neo-noir Thelma and Louise…
Gyllenhaal the writer sees Frankenstein as a Romeo and Juliet story…
Love story: Can you get audiences to root for the monster couple (like Romeo and Juliet) or be awed by their depravity (like Sid and Nancy).
…historias de amor épicas y trágicas que van desde Romeo y Julieta hasta Bonnie & Clyde…
There are expressions of love and lust, though Romeo and Juliet, they are not.
…reciting ‘Romeo & Juliet’ in reference to Frank and Penny…
Sarsgaard and Cruz share witty THE THIN MAN-style banter and chemistry.
Penelope Cruz’s lady detective who is named for “The Thin Man’s” Myrna Loy…
Peter Sarsgaard and Penelope Cruz play detectives inspired by Nick and Nora Charles in The Thin Man…
Penélope Cruz (whose costumes, designed by Sandy Powell, nod to Barbara Stanwyck in Double Indemnity)…
…al film noir (Pacto de sangre / Double Indemnity)…
…dresses like Barbara Stanwyck in “Double Indemnity.”
…a las screwball comedies (Ayuno de amor / His Girl Friday)…
Penelope Cruz, fantastically miscast as a kind of neo-His Girl Friday…
There are serious threats of sexual violence, along with playful song-and-dance numbers, a detective and a His Girl Friday.
…acts like “His Girl Friday’s” Rosalind Russell…
It’s Joker for neoliberal feminism and Badlands for 2010s Hot Topic shoppers in one package.
…a little of Malick’s Badlands…
Badlands-style “lovers on the run” dramas…
…to more cult-level films like Frankenhooker, this movie celebrates them all…
I’ll take “Poor Things” or even “Frankenhooker” over this any day — more fun and more effective.
…to just jaw-dropping schlocky (Frankenhooker – “wanna date?”)
The 1990 camp classic “Frankenhooker”? A guy.
…and the underrated “Frankenhooker.”
In the same chilly breath it invokes Howard Hawks’s “Scarface,” Mel Brooks’s “Young Frankenstein” and Tim Burton’s “Beetlejuice.”
…complete with Tommy guns, smoky backroom deals, and corrupt power structures that would not be out of place in Scarface or The Public Enemy.