Monsters have, and always will be, an iconic part of cinema. Audiences love to be scared, and nightmarish creatures like Pennywise or Xenomorphs stick with viewers long after the credits roll. However, there have been plenty of tragic movie monsters who aren’t meant to elicit fear, but rather pity. Frankenstein’s Monster is arguably the most well-known movie monster, and with Guillermo Del Toro’s adaptation of Mary Shelley’s novel dropping on Netflix, now feels like the perfect time to examine the modern monster movies that made us shed a tear.
Instead of dredging up many of the expected classics, like Bram Stoker’s Dracula (1992) or Bride of Frankenstein (1935), we’re primarily looking at 10 emotionally poignant or devastating monster movies from the last decade. Some of these movies have gone under the radar for years and deserve a second chance at life, while others are popular but may not exactly be considered a monster movie. If you want monster movies that are tender and moving as opposed to terrifying and skin-crawling, then consider these 10 modern monster masterpieces.
Frankenstein (2025)
The impetus of this list, if you’re going to talk about sympathetic monsters, you have to talk about Frankenstein, and Guillermo del Toro’s adaptation presents probably the most sympathetic portrayal of the Monster around. What helps make Frankenstein as strong as it is is Jacob Elordi’s turn as the Monster. While many associate the Monster with Boris Karloff’s rendition, grunts and all, there’s a certain elegance to Elordi’s creature that’s simply wonderful.
Del Toro infuses the Monster with humanity, and the audience slowly goes from fearing him to feeling for his plight. It also helps that del Toro is a master of creating spectacular period pieces. Those who found the sets of Crimson Peak (2015) and Pan’s Labyrinth (2006) just as compelling as its cast will feel right at home with Frankenstein. If you want your monster movies full of empathy and gothic beauty, be sure to check it out..
Your Monster (2024)
Monster romances are nothing new, but Your Monster feels like a down-to-earth romance between a woman and the monster that lives in her closet. It’s undeniably quirky to be sure, but that quirkiness helps to really drive home how perfect its leads are for each other.
Monster (yes, his name is literally just Monster) is the kind of guy that would be a lot of people’s “hear me out.” He has some bite to him with a bit of a temper, but in reality, he’s a softie. He genuinely wants what’s best for his roommate, Laura, and seeing such a positive relationship develop between the two of them is heartwarming. The unusual dynamic isn’t dissimilar from Warm Bodies (2013), but Your Monster isn’t afraid to talk about relationships in an adult way. If you want a mature romance with a bit of horror splashed in, as well as an ending that will make you think “good for her,” then Your Monster will satisfy you and then some.
Poor Things (2023)
Calling Poor Things a monster movie may be a bit odd on the surface, but for anyone who saw Yorgos Lanthimos’ critically acclaimed sci-fi dramedy, you don’t need me to explain why this movie is a great character piece in the same vein as Frankenstein. What makes Poor Things such a fascinating movie is how we watch Bella grow and develop over the film’s two-hour and twenty-two-minute runtime. We see her go from a barely coherent fool to a well-educated and verbose woman. In many ways, Bella is the female version of Frankenstein's Monster, but that also means that society’s treatment of her is far harsher.
While Poor Things never becomes truly dark, seeing Bella grapple with her own identity, both as a monster and as a woman, as well as watching her discover the truth about her past life, is heartbreaking. It’s all done very tastefully, and fans of Lanthimos’ library of films like The Favourite (2018) and Bugonia (2025) will be used to his eccentric presentation. So, if you want a visually stunning movie about what it means to be human, consider giving Poor Things a watch.
The Shape of Water (2017)
If there’s one thing Guillermo del Toro is good at, it’s making monsters. His creatures all appear inhuman, yet have a humanity in them that’s hard to ignore. Case in point: The Shape of Water. While Your Monster slowly dips its toes into exploring what a romance between a human and a monster would be like, The Shape of Water dives headfirst into it. The world intentionally feels drab and gloomy, yet the moments Elisa shares with her amphibious lover bring the film to life.
Even though no traditional dialogue is shared between our two lovers, you feel the connection they develop and root for them even as society does everything in its power to stop their love. It’s a fairy tale much in the same way Edward Scissorhands (1990) is, and it channels some Shakespearean tragedy in its ending. Even if you’re grossed out by the slimy nature of Elisa’s lover, if you’re a romantic who thinks that looks aren’t everything, then The Shape of Water was practically made for you.
A Monster Calls (2016)
Not all monster movies have to be aimed at adults. If you’re looking for a new take on a monster movie that kids can enjoy, A Monster Calls is a pretty delightful coming-of-age story that anyone can enjoy.
A Monster Calls is a child-friendly exploration of the five stages of grief and handles those themes wonderfully. The monster is both imposing yet gentle, and even when he acts slightly frightening, it’s all in the best interest of helping the young Conor explore and understand what’s happening around him. He doesn’t sugarcoat what Conor is feeling, and the soothing tone of Liam Neeson helps make the monster feel like a father to him. It masterfully blends the wonder and imagination of childhood with the crushing harshness of reality, making A Monster Calls a wonderful double feature with the equally devastating Bridge to Terabithia (2007).
Lisa Frankenstein (2023)
Some interpretations of Frankenstein tend to lead toward the monster’s desire for companionship. But what if the inverse was true? What if the monster was made so that someone else could find love? Well, then you would get Lisa Frankenstein.
A love letter to horror comedies like Jennifer’s Body (2009), Lisa Frankenstein shows reverence for both the original Mary Shelley novel and ‘80s horror movies. Lisa adores the Victorian era and wants nothing more than to be a part of that time period, so watching her bond with a monster she revived from that era is touching. The movie’s foot is firmly planted in camp horror, with plenty of gooey and stupid kills, but it’s all rooted in a solid performance by Kathryn Newton as a simple girl who doesn’t want to be alone. It’s a very relatable monster movie, and its tragic end hits the right notes befitting a Frankenstein movie. For those who are romantics at heart, Lisa Frankenstein will make you swoon.
Bones and All (2022)
While the definition of “monster” may be stretched ever so slightly with Bones and All, there’s no denying that the monstrous actions of its cast of cannibals will leave you heartbroken and deeply uncomfortable. It’s a dark exploration of human nature, but one that blends multiple genres. Not only is it a road trip movie, but it’s a romance, body horror showcase, and a drama about the lengths people will go to survive.
Bones and All is a Jack of all trades, with director Luca Guadagnino understanding when to switch genres to best get a reaction from the audience. At its core, Bones and All is just a story about two lonely people finding each other and growing to rely on one another. It all ends horrifically and on a soul-crushing note, but if you’ve seen Let the Right One In (2008), you’ll know what to expect. You may shed a tear at how there’s no happy ending for anyone involved, but Bones and All, at the very least, forces its audience to define what a monster even is, and if someone is a monster, does it even matter?
Colossal (2017)
It’s not uncommon for monster movies to be introspective think pieces. How a film frames a monster is just as important as its presentation, and Colossal perfectly nails using its monster as a metaphor for alcoholism.
Colossal was originally pitched as “Godzilla (1954) meets Lost in Translation (2003),” and it certainly shows. The film balances the spectacle of kaiju action with the ennui and aimlessness of an adult going through a midlife crisis. It is undeniably strange, though. This is a film where Anne Hathaway can remote control a giant monster in Seoul after all, but Colossal uses its oddness to paint a picture of a sad woman in a toxic relationship that desperately needs help. For all its bizarre ideas, it’s a well-grounded movie that lovers of dark female-driven character pieces should see.
Shin Godzilla (2016)
Of course, if we’re going to mention monster movies, it’s only a matter of time before the King of the Monsters himself shows up. And if there was one modern Godzilla movie that would leave you an emotional wreck, it would be Shin Godzilla.
While other movies on this list may prey on your sympathy and empathy toward their monster, Godzilla is still a terrifying being of destruction, even more so than usual. His disgusting appearance would make the creatures from The Thing (1982) squirm, but he’s not the reason why this film will leave you numb and hollow. It’s how it depicts the Japanese government. They’re inept, ineffective, and ignorant of any potential crisis, and they are more interested in sorting out bureaucratic red tape than stopping Godzilla. Considering the state of modern politics, Shin Godzilla, like Chernobyl (2019), is a sobering reminder of the failures of those in power. Those who are completely disillusioned with the system will get exactly what Shin Godzilla is laying out.
The Lure (2015)
While mermaids are often depicted as kind creatures in films like The Little Mermaid (1989), make no mistake: Mermaids are monsters. For every kind and sweet mermaid, there’s a dark and unsettling one in movies like The Lure.
Part monster movie, part romance, part rock opera, and part fairy tale, there’s a little something for everyone in The Lure. It hits a lot of the same beats that The Shape of Water does, but it imbues it with a sense of style and punk edge that is perfect for people obsessed with rock operas like Repo! The Genetic Opera (2008). And most of that comes from its amphibious leads. Golden and Silver are undeniably violent monsters, but even then, you start to empathize with their desire to find love and the lengths they’ll go for it. Of course, it ends badly for our leads—most monster movies do—but, at the very least, they go out staying true to themselves and how they wanted to live their lives.
