Horror Royalty Meets Comedy Legends

Read Time:5 Minute, 18 Second

MOVIE REVIEW
Abbott and Costello Meet Frankenstein (4KUHD)
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Genre: Comedy, Horror
Year Released: 1948, Kino Lorber 4K 2025
Runtime: 1h 23m
Director(s): Charles Barton
Writer(s): Robert Lees, Frederic Rinaldo, John Grant
Cast: Bud Abbott, Lou Costello, Bela Lugosi, Lon Chaney Jr., Glenn Strange, Lenore Aubert, Jane Randolph, Frank Ferguson, Vincent Price
Where to Watch: available now here: www.kinolorber.com or www.amazon.com

RAVING REVIEW: There’s a reason ABBOTT AND COSTELLO MEET FRANKENSTEIN remains one of the most beloved films in both Universal Monsters history and classic comedy cinema: it takes its premise seriously enough to let the horror icons shine while never losing sight of what makes Abbott and Costello such an effective duo. This film walks a razor-thin line between tones that should clash but somehow mix into a unified, endlessly rewatchable experience. It’s the rare crossover where everyone involved gives their all, and decades later, that commitment still radiates from every frame.

It’s not just another stop in the duo’s monster series — it’s the crown jewel. Even if you’re not typically drawn to mid-century comedy or old-school horror, the craftsmanship is undeniable. ABBOTT AND COSTELLO MEET FRANKENSTEIN succeeds because it respects the monsters as characters rather than punchlines. Instead of turning Dracula, the Wolf Man, or Frankenstein’s Monster into jokes, the film plays them straight. That choice elevates the comedy, giving Costello’s reactions a stronger foundation and giving the monsters dramatic weight that holds up even during the silliest moments.

Bela Lugosi returning as Dracula for the first time since the 1931 classic adds an electrifying presence. Lugosi knows this character inside and out, and he carries himself with the elegance, menace, and precision that defined his performance over a decade earlier. It’s remarkable how naturally he steps back into the cape, and the film is smart enough to let him maintain his aura instead of undermining it. Even though the film is a comedy, Lugosi never plays it as one. That sincerity is what makes his scenes with Costello so hilariously effective. He treats every line as if he’s in a full-fledged horror film, and that seriousness becomes the perfect foil for the duo’s antics.

Lon Chaney Jr., meanwhile, adds emotion as Larry Talbot, the Wolf Man. Chaney built a legacy playing tortured characters, and his performance here continues that tradition. He brings genuine conflict to the film as a man desperate to stop Dracula before the next full moon tears his life apart again. Even in a comedy setting, Chaney maintains the tragic tone that defined the Wolf Man throughout the Universal films. His determination and fear provide stakes that keep the story grounded. The way he interacts with Abbott and Costello gives the film an unusual emotional center, something most horror-comedies never attempt.

Glenn Strange appears as Frankenstein’s Monster, continuing the tradition of silent, imposing physicality that the character demands. Strange may not have the iconic presence of Karloff, but he’s impressive in his own right. His performance is defined by sheer physical dominance, especially in the film’s climax, and he plays the Monster with the simplicity and sympathy that audiences expect from the character. Something endearing about how much effort the film puts into letting the monsters remain monsters, even amid chaos. It’s this attention to authenticity that makes the movie feel like a legitimate Universal Monsters outing rather than a parody.

Abbott and Costello, at the center of it all, deliver performances that showcase why they were giants in the comedy world. Costello’s reactions have never been sharper. Watching him crumble into utter panic as the monsters reveal themselves is the core that powers nearly every comedic moment. Whether he’s trying to convince Abbott that the bodies in the crates have moved or frantically navigating Dracula’s castle, Costello’s timing is impeccable. Every gesture, every stutter, every nervous glance lands with precision.

Abbott plays the ideal counterbalance, constantly skeptical and increasingly irritated by Costello’s claims. His role is less flashy but just as crucial. Without Abbott’s straight-faced exasperation, the comedy wouldn’t work nearly as well. The film thrives on their dynamic, and this entry uses it more effectively than almost any other in their filmography.

The plot, involving a scheme to transplant Costello’s brain into the Monster, is absurd in all the right ways. It gives the film a structure that escalates naturally, allowing the final act to explode into a frantic sequence of chases, transformations, and confrontations. The pacing remains tight throughout, which is impressive considering how many characters and tones the film juggles.

This is the gold standard of horror-comedy crossovers with a gorgeous restoration. It’s fun, atmospheric, expertly paced, and anchored by performances from some of the genre’s greatest icons. It’s the kind of film that reminds you why the Universal Monsters remain essential to cinema history — and how Abbott and Costello’s influence still resonates.

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[photo courtesy of KINO LORBER]

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