Maggie Gyllenhaal’s latest film’s flash and flair unsuccessfully mask a mountainous amount of issues.

Loosely based on Mary Shelley’s 1818 novel “Frankenstein” and James Whale’s 1935 film, “Bride of Frankenstein,” “The Bride!” tells the story of Ida, a sex worker in the late 1930s who is brought back to life after being murdered. She, along with the lonely monster who requested she be made, goes on a revenge spree for the ages.

The trailers for the film imply that the film is more of a monstrous, Bonnie and Clyde-esque adventure. Unfortunately, this is only one of the film’s many themes and plot threads. Part romance, part possession horror, part crime thriller, the film is as mangled together as Frankenstein’s monster himself.

Cinematography-wise, the film is filled to the brim with atmosphere and pizazz, much like the 1930s themselves. When it needs to, however, it highlights the darker aspects of the time. Its flashy nature cannot mask the amalgamated story at its core.

Gyllenhaal does a noteworthy job from a directorial standpoint, but does not seem to know which story to choose as a writer. While the film itself is beautifully composed, its story is less so. It frequently dances between reality and fantasy, not fully indicating to the audience which is which.

Praise for Jessie Buckley’s performance as Ida is more than deserved. In the story, Ida becomes possessed by Shelley’s ghost. Buckley ingeniously balances Ida and Shelley’s personalities by sharing one body. After she is resurrected, she wonderfully portrays a woman fighting for her identity in a world attempting to rob her of it. Christian Bale also does a stand-out job as Frankenstein’s Monster, lovingly nicknamed Frank. Each awkward movement or delivery perfectly exemplifies Frank’s loneliness and desire for true connection.

The cinematography definitely stands out, but cinematographer Lawrence Sher is known for bringing great cinematography into projects that are a bit lackluster. The set and costume design portray the 30s aesthetic astonishingly well. Parts of this film, however, stand out as astonishingly anachronistic, namely the character’s manner of speech. Buckley avoids this issue by being able to depict Shelley’s 19th-century diction and Ida’s 1930s dialect.

While the film’s pacing seems off at the beginning, it comes together to somewhat mask the film’s confused plot. The film’s ability to hold the audience’s attention is only due to its inability to present a distinct story. The story it tries and fails to tell is interesting in the way it attempts to give a voice to a character that has been voiceless for so long. It uses this premise to present a well-thought-out feminist theme that only fits with certain pieces of the story, becoming overshadowed by everything else the film is trying to convey.

Despite the film’s originality and creativity, “The Bride!” will leave audiences confused, staring at a discombobulated series of events that never truly connect.