Lisa Frankenstein

By the time all of its narrative pieces are stitched together, there’s barely any Mary Shelley left in Lisa Frankenstein, which seems more influenced by John Hughes and early Tim Burton.

Overflowing with cheesy 1980s nostalgia, from hair and fashion to pop-culture nuggets, this macabre teen comedy with horror roots from screenwriter Diablo Cody (Juno) isn’t as edgy or subversive as intended.

Lisa (Kathryn Newton) spends an unusual amount of time loitering in a cemetery in the woods near her home in late-1980s suburbia. Still grieving her mother’s death, she’s particularly fascinated with a certain headstone.

Her status as a social outsider isn’t helped by her mean-spirited new stepmother (Carla Gugino) or her airheaded stepsister (Liza Soberano), who at least tries to introduce Lisa to the popular crowd.

Could the path to normalcy lie beneath that grave? After the grunting corpse (Cole Sprouse) is suddenly reanimated and hanging out in her bedroom, Lisa does what any self-aware teenager would — takes him to the backyard tanning bed for a makeover.

Before long, the creature turns from an experiment into a possible crush, unleashing Lisa’s goth side. Her ensuing empowerment comes with a new set of priorities along with a sense of impulsive recklessness. “I’m not afraid of death anymore, but I don’t want to die a virgin,” she explains.

But is her undead roommate Mr. Right? Then again, considering the film’s collection of oddballs and weirdos, he practically feels normal.

Perhaps a spiritual cousin to Cody’s 2009 script for Jennifer’s Body, her sardonic wit leads to some scattered laughs, accompanied by some visual flourishes courtesy of director Zelda Williams — making her feature debut after gaining experience primarily in the music-video world.

Newton (Freaky) is endearing enough in the title role alongside the scene-stealing Soberano. A handful of clever sight gags and one-liners helps to compensate for the extended flat stretches.

However, the film doesn’t have much substance beneath the shallow and superficial surface, and it can’t sustain its amusing throwback vibe as the story becomes more derivative.

At least one of its pivotal sequences is a sweet showcase for an REO Speedwagon love ballad, the underrated power of which will never die.

Rated PG-13, 101 minutes.