Poor Things is very pretty, I’ll give it that much. Colors pop, and the watercolor, blurry sky and the scaling but condensed environments of Lisbon and Alexandria both convey the miasma of Bella’s mind quite well. How the background blurs in our young memories and how we remember all the buildings and places that looked large over us but so rarely the walks to them. Those work for me. So much of the rest of the film doesn’t.
I see what it’s going for- it’s hard not to. A journey of womanhood through the conceit of a child’s brain in a woman’s body, when women are treated as children and property to begin with. But it’s so fucking weird, with that conceit, to devote so much time to sex. Sex is an important part of being human for many people, I’m not denying that. But the attention it gets here throughout compared to brief, paltry scenes of Bella reading, seeking knowledge, having an interest in medical science and surgery is disproportional. Especially when the film wants to play her coming home and following in Godwin’s footstep as a culmination of her journey when it’s a facet of the film that barely gets any play in comparison. Angelica Jade Bastien, whose Variety review you should all read, brings up how in a film ostensibly about a cis woman and her relationship with her body menstruation does not come up once. It’s so telling where the film’s true focus lies.
And yes, sex can be beautiful, and conversely so can sex scenes. But the ones here are done dispassionately yet voyueristically. There’s no interiority, no sensuality, no sense of emotion and character felt through them. Compared to films like The Handmaiden they are sterile in heart if not content. It’s a big swing to go from black and white to color, and I can see sex being the impetus for it, sure, but when it’s done like this I don’t buy it. It’s interesting to me that her first time having sex is portrayed like this, with penetration until the man comes, thrice over, and yet her first time with cunnilingus is off screen. I feel like all the sex in this film is similarly narrow and lifeless.
None of what this film is trying to say is new, but much of it is muddled. It wants to rail against the entitlement of men, how they see women as property, how they want them to be exciting and adventurous but only in service of them. And yet it gives Max no grief at all for falling in love with. A child. Literal child, this is not a metaphor, it’s a child’s brain. And marrying her but refusing to have sex with her until marriage because that would be taking advantage, as if marriage would not be taking advantage and has not been used as the ultimate control. On some level the film condemns this, but only in the opposite direction, as part of Emily leaving Max is her frustration over not having sex. It’s baffling that the film seems to take the viewpoint that we ought to let children consent to sex with adults, that it is part of their development and journey to personhood. The film is similarly forgiving to Godwin, who used a woman’s body in a way she would very likely not have consented to all while the film extols a woman’s choice and ownership of her body.
Everything the film has to say about the nature of man and people, about women’s place in society, about sex work, etc, is rote. Nothing here is new, and nothing is heightened by the core conceit. It’s so surface level. And the cast is game enough. Dafoe is Dafoe and that’s always a good time, but I wouldn’t call this one of his greatest roles. Carmichael, much as I love his standup, just is not working here. Stone and Ruffalo are acting for the back seats, and while that has its moments of charm, it’s too much for most of the runtime. And Stone is just. She’s playing into ableist stereotypes for so much of this performance. The film drops the r slur and we’re just gonna pretend that Stone isn’t doing an insulting caricature at the same time? I don’t even want to delve into all the questions raised by the mental disability angle, others could do that better than me, but it’s another level of thoughtlessness and surface level depth.
The score is similarly cloying and overbearing. It insists on a scene rather than being a part of it. It doesn’t enhance it or complement it, it beats you over the head with how the scene is meant to make you feel. I could enjoy the sound of it in isolation, but as a score it’s distracting more than anything else. It’s a bit surprising to me how much this film has been praised as outside of the production design, I don’t see it. I just don’t. For me, this is as much a misfire as Barbie, if not more. Poor things.
I'm disappointed. The movie looks and sounds beautiful - the costumes and the world both are very intricate. I enjoy the language that is used, how the dialogues are written and I especially love the concept of the movie. It's not something new, plenty of books cover basically the same idea of a "clean" human, who grew up without societies influence, discovering the world. Nontheless, I was intrigued. Sadly since Bella is a woman, clearly the only way for her to explore the world is through having sex with men, because how else. And that could have been fine, talking about sex and sexuality is important, but this movie just uses it as a way to make jokes and show her tits. It is shown as something great and liberating, even when grown man assault her as a child or when she works at a brothel. Besides this weird portrayal of sex, there is not much substance. A few buzz words are thrown around like socialism, worker unions etc., but the writers were happy with just mentioning this stuff. Even when talking about prostitution, the commentary is restricted to "what if the prostitues would choose who they have sex with" - what a great, elaborate thought. This shows just how little thought went into the writing. Overall there is nothing worthwhile to be found here - at best you will get an ignorant commentary about topics they clearly have never engaged with.
“I must go punch that baby.”
The first film of the Leeds International Film Festival 2023 (LIFF), and what a strong start!
Poor Things is a humorous, sexy, and Gothic tale that can be philosophically but in the most bizarre ways. There is something so wonderful about the weird, especially in art.
Emma Stone's performance as Bella Baxter was just glorious. It’s also a very “risky” performance because when we first meet her, she is a child in an adult body after being reanimated, with her vocabulary being on the same level as a three-year-old, and her uneven body posture/moments, as if she’s still learning how to move. There is A famous movie saying, “Never go full stupid”, but Stone finds the right balance that prevents it from being embarrassing to watch, which other actors failed at. However, that section is only at the beginning, and as the film progresses through her journey of becoming herself, we see her understanding of language and walking improve significantly.
Bella is a fantastic main character, and she’s easy to care about. We want to see her succeed, and Emma Stone was terrific.
This is the best performance I have seen from Mark Ruffalo, as every time he was on screen, the audience and I were laughing. His character is a loudmouth parody of the ladykiller, who takes Bella under his wing and has her for himself. He chewed up the scenery, and it was astounding. There is a scene in this movie where both Bella and he have a chaotic dance, but the little dance he does on his way to the dance floor, I can't stop thinking about it. It was so funny.
William Dafoe, which should come as no surprise, delivers a superb performance as the monster-looking scientist Godwin Baxter. He is often referred to as 'God' at times, with his patchwork flesh of a face having a distant cross on the right side of his face. He very much plays the role of God, as he does the impossible and gives new life to unfortunate lost souls.
I’m just saying this right now, but the Best Supporting Actor race next year might be the best if nothing ruins it. I hope not. Imagine this: Robert Downey Jr. for Oppenheimer, Ryan Gosling for Barbie, Robert De Niro for Killers of the Flower Moon, and Ruffalo & Dafoe for Poor Things.
Everything on a technical level, such as cinematography, the score, costumes, and the production design - all extraordinary and benefited in bringing this world alive. The whole movie feels otherworldly and timeless.
What I find compelling about director Yorgos Lanthimos is that if you examine his movies, the stories in his movies are simple. The Lobster is about fulfilling societal norms we feel we need to follow, such as getting a job, applying to a college and university, being with a romantic partner, having kids, having interests, and eventually dying. The Killing of a Sacred Deer is a horror revenge tale where a family gets cursed after the fathers' wrongdoings. The Favourite is a period piece drama/comedy about two reveals who try to win the love of a bipolar queen.
Poor Things is a fresh re-imaging of Mary Shelley's Frankenstein (also based on a novel by Scottish author Alasdair Gray), remodeled as a coming-of-age story told through a female perspective. The needs, the wants, the issues, and losing our inner child in this demanding world. Unique and isn't afraid to approach sexuality so openly.
At the start, the character of Bella has the mind of a child while having an adult body but is not restricted and not insecure about things. She can be loud, messy, playful, and expressive in emotions. Especially when it comes to sexuality, hence the openness to it. Like, there's nothing wrong with something that everyone does, but we don't talk about it. As we get older and more exposed to the world, we get quieter, speak less, get insecure about things, care too much about what others may say/think, and become closeted. That is one angle of the film that I found incredibly compelling.
But the execution is wild. I do not buy for one second that it’s strange for the sake of it. It leans more into steampunk absurdism. Yorgos Lanthimos presents the events as they are without questioning them, as the surface level normality peeled back, and focuses on the strange happenings in life and people. He's one of the most unique voices in cinema, not only for what he has to say but what he must show and how to show it.
The only issue I had with the film was towards the end when it started to get a bit preachy, going as far as hitting you on the head with it, and I was thinking, "Alright, I get it."
Other than that, the film was excellent and one of the most unique and memorable experiences I had this year. Even if this is Yorgos Lanthimos's most accessible film so far, it may still be too much for some, but even with its peculiar nature, you will find it impossible to take your eyes off the screen.
First off, the technicals. I have no trepidation in saying this is the technically most impressive movie of 2023. The visuals are sumptuous, some stills are painting worthy. The fisheye lens, the discordant score, the absurdist and beautifully detailed environments...everything is operating at an extremely high level. Special shoutout to the title cards that split up each section of the movie. In particular, that last one will live rent free in my head. The settings are just perfection. From the very first shot of the movie, you know you are in for an audiovisual feast. Secondly, the performances. Really, this movie starts and ends with Emma Stone. In the most competitive year for Best Actress that I can remember, she is the winner. She puts everything into this character, not just from a physicality point of view but also the way that her facial expressions and speech patterns transform throughout Bella's journey. It's definitely centered around her, but the supporting cast does an admirable job (Mark Ruffalo specifically) in tandem with her. Third, the plot. I think, if I were to criticize the movie, this might be the one area. The movie is 2.5 hours long, and it does drag a bit in a few sections. I thought one or two of them could have been slightly tighter to keep the pacing brisk. I am doing this just to nitpick though because the other sections were brilliant, and I absolutely loved them. Finally, themes. This is a movie about liberation, and it tackles it across a variety of different avenues. Seeing Bella's journey of self-discovery was fascinating, and it was equally fascinating to see how often certain elements tried to contain it. Utilizing this madcap version of the world to really accentuate those competing forces worked. This is the best movie of 2023. Just FYI, this is not a movie you see with family. At all. It is explicit. Extremely explicit. And weird. And absurd. And so good.
This film was actually quite difficult for me to watch as a person with a neurodevelopmental disorder, despite Bella being a completely fictional and impossible concept, because the way Bella experiences the world, thought processes, her own emotions, and the emotions of others is at times a very accurate reflection of how many people with some types of neurodevelopmental disorders experience them. It’s kinda rough to see yourself in a character like that when the character is constantly being taken advantage of in their naivety and disability.
On top of that, her (literal) childlike innocence and curiosity is very strongly sexualized which makes me uncomfortable because while she’s obviously free to explore her sexuality, she is very easy to manipulate and sexually assault without her knowing it’s even happening, which is a very common occurrence for people with a neurodevelopmental disorder. And while, once again, I do recognize this is a completely different and fictional concept, it is so incredibly reminiscent of the daily abuse mentally and/or neurologically disabled people face, that it was very hard for me to sit through.
I also realize that this is a very personal experience and if you don’t relate to Bella in that way, it’s likely a lot easier to appreciate it for its beautiful cinematography and costume design, which is why I’m still rating it high for a film that made me uncomfortable for half of it.
"We must experience everything, not just the good, but degradation. Horror. Sadness. Then we can know the world. And when we know the world, the world is ours. This makes us whole."
Equal parts unique and original, Yorgos Lanthimos brings us another one of his journey dramas set in a dystopian world. Poor Things bears a strong resemblance to Barbie in terms of feminism and character arcs. A strong character study into Emma Stone's Bella Baxter, a career high Oscar worthy performance from Stone and such an interesting character I couldn't get enough of.
Just like the usual Lanthimos movies, disecting the dystopian world mixed in with the dystopian characters is it's biggest appeal. I believe nobody is prepared for the amount of sex and nudity in this movie—it's a lot but it's necessary for the themes of the movie. Very dark, uncomfortable, disturbing. It's also a very funny movie with sharp dry comedy.
Such a gorgeous movie, easily Yorgos' most beautiful movie to date. Best costumes of the year, everything Emma Stone wears is worth starting a new trend. Favorite score of the year, it's freakin unhinged. The sets are every bit memorable. Clever dialogue. Mark Ruffalo also deserves a shout-out, a refreshing supporting role.
There's scenes that last too long for the sake of getting the viewer uncomfortable and that's great but there's also some scenes in the second half especially that last too long for no reason. The movie gets a little repetitive after a while and I felt the runtime. I question the inclusion of Margaret Qualley's character, she adds fun for sure and I love the actress but she doesn't really add anything to the story.
One of my favorites of the year. Not the best Yorgos movie overall but still great. Lanthimos is becoming one of my favorite directors, I just can't get enough.
I feel like if I’m looking at this movie like a directors canvas, watching them imaginatively fill the spaces with whatever whimsy and creation their imagination can come up with, this movie is a work of art.
However, stepping outside of that, once the pastel skies lose their novelty and the JRPG-like towns start to all look the same, I’m left with a movie that I really didn’t find all that engaging and the story fairly unsatisfying. I looove Emma Stone and good for her for the Oscar win, but I didn’t really find her character all that layered and honestly felt like I spent two hours watching an adult toddler have a “coming of age” journey into a humanoid chatGPT wind up toy.
Reading some of the discourse, and I don’t know if I care to make a decision on whether this is some impactful feminist take on bodily autonomy or some lackluster cheap “edgy” plot where lady born yesterday discovers the power and lack there of regarding sex - but I feel like even Von Triers Nymphomaniac had more nuanced conversations around “hard jumping.”
All in all, maybe if you’re like me and watching this movie after the Oscar’s hype and general fanfare, you’ll end up disappointed too. But I think if you’re the kind of person who enjoys style over substance (which is perfectly fine) then there will be a lot to enjoy about this movie. Picture Willy wonkas chocolate factory except it’s a brothel and all the candy is covered in pubes.
Very Yorgos, he’s still flipping the rules of society on its head. Compared to his other films this one’s more focussed on sex and femininity, it’s almost like Barbie with a high arts degree. The plot even has this similar ‘discovering the horrors of the real world’ element to it, but with Lanthimos at the helm this obviously goes to more challenging, boundary pushing places than Barbie ever could. For me this is easily the funniest film of 2023, there are so many incredible zingers and moments of physical comedy that contrast very well with the dark subject matter. Its sense of humour is complemented by sharp editing and some exceptional performances. I’ve been critical of some of Ruffalo’s acting in the past (his MCU work tends to feel really phoned in to me), however this time he turns in some of his best work. Emma Stone, stripped from most of her natural charisma here, continuously finds ways to make you laugh through a look, the cadence in her voice or her posture. Bella’s arc throughout this film is massive and every beat felt earned to me. Visually I found this extremely inspired; the sets are so detailed, colourful and contain references to filmmakers such as Fritz Lang, Tim Burton and Wes Anderson. Stanley Kubrick is another filmmaker that keeps popping up as an influence throughout Yorgos’ filmography, and that’s no different here. The fish eye lenses, which to me stood out a little awkwardly during The Favourite, completely work for the wacky, fantastical world that Poor Things presents to us. The score still contains that off-kilter, oblique sound from Lanthimos’ previous work, but the instrumentation is much more distinct and unique this time around. Overall, it’s just a very complete, well realized vision that builds and even improves on the style of the filmmaker. Can’t wait to see where he goes next.
9/10
Where do I even begin? I've been a fan of Yorgos Lanthimos since first discovering 'Dogtooth', which quickly became one of my favourite films of all time. Going from there, I have loved everything he has put out, and it was not long before I started proclaiming him to be my favourite director currently working. I've also greatly admired Emma Stone and many of her performances for over a decade now. So, with all that said, my hopes for Poor Things were at an all-time high.
This was everything I had expected and hoped for. One of the rare times that a film I have exceedingly high hopes for actually manages to live up to what I had circling around in my head.
It's jaw-droppingly gorgeous. Without a doubt the best costume and set design I've seen in years (sorry Barbie). The camera work on display is creative, pretty, and inspiring. Everything about the way this film looks is a spectacle. Fortunately, that's not where my praises for this film end. The plot is captivating, the pacing is perfect, and the performances (especially from Emma Stone) are mesmerising. Lanthimos' direction is sublime, and this film is so full of life and wonderment. It's laugh-out-loud hilarious whilst dealing with some rather complex and disturbing subject matter.
I'd be truly shocked if this film does not sweep up awards this awards season. I couldn't be happier with how it turned out. My only complaint was that I couldn't see it last year.
Can't wait to see what Lanthimos puts out next.
Whoa - what a WACKY movie! While watching this, I kept trying to identify the different media that was thrown into the blender for this one... I'd say it's Frankenstein (obviously), with some Dr. Seuss, a little Tim Burton mixed in with Willy Wonka plus some scenery out of the game Bioshock. Then, add some camera magic tricks from Hitchcock and fashion from Grace Jones after she watched the new Barbie movie while smoking some 60s weed. Mix all that up, and then throw in a few porno movies.
There were numerous times of complete WTF questions, some real laugh out loud moments, and times of being blown away by the strange cameras and shooting procedures used. Some of the visuals and architecture were amazing. The ending was quite enjoyable - I predicted two outcomes, and the more comedic one was written.
I restarted the movie after watching just to see the beginning again quickly. I LoL'd when I saw the warning pre-credits that the movie would contain tobacco depiction. THAT'S what they're going to warn us about?
This is a definite watch - just make sure the kids are at grandmas or something before starting this one... Even if they are teenagers. ;-)
Poor Things is notable for its formidable performance by Emma Stone, who shines in her role and takes the film to new heights with her talent and screen presence. Rarely have we had such a clear shot at an Oscar. The film's originality is also remarkable, especially in the way it is shot with fisheye footage, an intriguing technique that manages to grab the viewer and hold their attention throughout the story.
Another highlight of Poor Things is its impressive visual design. The use of colour and sets creates a unique atmosphere that oscillates between theatre and classic cinema, offering a visually beautiful experience that perfectly complements the narrative. In addition, the film's costumes are gorgeous, adding another level of detail and authenticity to the production.
However, despite its many strengths, some critics may find that the film suffers from excessive length and slow pacing at certain points. This lack of pace can make the film feel ponderous and make it difficult to maintain viewer interest throughout its duration.
In terms of production quality is where Poor Things takes the cake. It is flawless in every aspect. From the direction to the cinematography to the production design, every element contributes to creating a film that is a work of art in itself.
I've never been much for steampunk fantasy aesthetics but it sorta works here except where it doesn't and looks like some less inspiring edition of Heavy Metal anno 1991. The plentiful selection of fisheye lenses becomes kinda overbearing artsy experimental film school tiresome half way in until you accept it and ignore it. The story itself is engaging and interesting from the protagonist's perspective, from childlike girl to girl-child in self discovery to a nubile male sexual fantasy to an independent sexual contractor that owns her means of production and then some post-sexual intellectual conquest of her libido towards the end. Despite the idealism, I stay clear from making it political from a feminist perspective and likewise from the lingering socialism agitprop of which I may agree with both but still decide to keep as referential entertainment rather than an educational statement. As far as I can tell, everybody did a bang on job what they set out to do. It's mostly the final act and the finale that brings it down for myself. After an hour and a half roller coaster ride, the last act is expected but feels uninspired and is there by necessity to choose the arc, not to mention the interesting side lines that are seemingly dropped for a quick and clean finale. Watching it I felt like this started off from a seven and rose to a nine, then it dropped to a seven bordering to a six, and now that it has settled I think an eight minus sounds fair because hey, it's still a damn good ride.
Superb! It's quite the ride!
I don't have the film school-esque analysis to adequately describe all this, so I'll very much leave that to others. What I can note, though, is that I had a great time watching 'Poor Things'. It's incredible. I have many a positive, though the main one is obvious: Emma Stone. All I can say is: Bravo! A truly outstanding performance!
Another major, major plus is the music. Wow! Sensational. It's so commanding throughout, blowing me away in what felt like every few minutes... and yet, it never distracts or takes you out from any scene unfolding onscreen. One of the greatest scores I've heard in a very long time. That aside, the visuals are amazing - from the colours to the sets, major props to all those behind the scenes. It all looks exquisite.
Stone isn't alone in impressing, as Willem Dafoe is brilliant too - loved his showing in this, the accent is particularly well fitting. Mark Ruffalo is praiseworthy too, as is everyone else to be honest - e.g. Ramy Youssef and Kathryn Hunter. They all partake in a quite bizarre plot, but one that is absolutely absorbing from beginning to conclusion.
Pre-watch I was somewhat expecting that this was going to be one of those (having not researched anything, as per) overly artsy flicks that I wouldn't connect with, delightfully I was totally wrong. I also felt, when Christopher Abbott's character appears, that the film should've ended earlier, though again I was incorrect because the film simply manages to continue at such a hugh quality.
To wrap it up: I loved it. Credit to all involved.
Watched the movie yesterday evening at a cinema.
If I wanted to be mean, I would call this movie an artistical porn. But I'll be good and say that everything in the movie is "beautiful" exceptr the horible music and in general sound. Oh my god, it was just noise.
Aside those aspected, the idea of the movie is great and innovative. The world created is somehow different but let's be honest, it's just normal fictional world without something really fancy. It also looks like a rip off from some schience fiction during the mid period of industrial revolution. Still, the world as it is present is a work of art. Looks like a constant painting, though it is not too much liking because actually it is HDRed 1000 times and I don't like the HDR effect.
The movie lost my interest quite early around the 1/4th. Maybe it was the music, which I still find horrible. What I didn't like about the movie is that it was trying to hard, it was unnecessarily slow and repeatative. Worst of all, was the unnecessary volume of nudity and sex, interupted with gross scenes. When it happened way too much, I was mentally off to be honest and the greatness of the idea was just lost. I trully believe that the art of a director is to imply the emotion to the audience, instead of bombarding with the actual raw footage.
if the movie tried less to show itself, it might have been the excellence that they are promoting it to be. It has the script nailed anyhow. It has been a long time since I last watched a bad "cultural" movie, not because it was bad and pretentious but because it would stretch everything so much, it would try so hard innevitably killing the excellent ideas.
What a waste? Who made the music score really?
A Surreal Journey of Self and Society
In Yorgos Lanthimos' "Poor Things," the film's opening enigma gradually transforms into a profound exploration of identity, manipulation, and the quest for autonomy. The story of Bella (Emma Stone) is a symbolic journey through a surreal Victorian landscape, where her early life in Godwin Baxter's mansion serves as a microcosm of her broader experience with male figures in her life.
The relationship between Bella and Duncan Wedderburn (Mark Ruffalo) initially promises a journey of liberation and self-discovery. However, this evolves into a nuanced portrayal of control and exploitation, symbolizing the film's critique of gender dynamics. Bella's navigation through this relationship, from naïveté to a growing awareness of her exploitation, is poignantly captured in scenes where she grapples with her own identity against the backdrop of societal expectations.
A key aspect of the film is its treatment of the theme of exploitation by male characters. Even those who appear well-intentioned, like Godwin Baxter, subtly perpetuate control over Bella, highlighting the insidious nature of exploitation. Her journey is marked by a series of realizations about the intentions of the men in her life, each contributing to her evolving sense of self.
Additionally the concept of a baby managing adult freedom and power, unfiltered by established norms, is a critical aspect that further complicates the film's narrative. The portrayal of Bella’s childlike mind in an adult body navigating a world without the usual societal constraints raises intriguing questions about innocence, corruption, and the natural development of moral and ethical understanding. This element adds a layer of complexity to the film, as it challenges the viewer to consider the impact of societal norms on personal growth and the often problematic nature of unbridled freedom.
The visual storytelling of "Poor Things" is another remarkable aspect. The transition from monochrome to vibrant colors is not just a visual treat but a metaphor for Bella's expanding consciousness. However, the film’s aesthetic brilliance occasionally overshadows its narrative, leading to moments where the story's depth seems secondary to its visual appeal.
Throughout the film, Bella's bold public appearances in attire that defies Victorian norms serve as a powerful symbol of her rebellion. These scenes, combined with her gradual empowerment in the face of male dominance, create a rich narrative tapestry. Yet, the film's portrayal of societal reaction, or the lack thereof, to Bella's defiance raises questions about the depth of its social commentary.
In conclusion, "Poor Things" stands as a visually stunning and thought-provoking film. Lanthimos masterfully illustrates Bella’s transformation amidst a complex web of gender dynamics and societal expectations. While the film excels in its visual storytelling and symbolic depth, it occasionally falls short in narrative coherence, leaving some thematic elements underexplored. Despite these shortcomings, "Poor Things" remains a captivating and intellectually stimulating cinematic experience.
So proud of my boy Jerskin now being 'Oscar-nominated Jerskin Fendrix'. From playing at the Windmill in Brixton (my favourite music scene of all time) to half-empty rooms to now scoring Yorgos Lanthimos's best film, with a killer cameo too! And my God he does such a fantasic job - it won't win the Oscar because it's too weird for them suited squares (although I am pleasantly surprised at the noms this year) but this is perhaps one of the best front-to-back scores I've ever heard - because it truly stands on its own but also always takes you back to the world of 'Poor Things' each track at a time.
Everyone go listen to his one and only album 'Winterreise'. It's a masterpiece and has always been one of the most overlooked albums of the 2020's but Poor Things goes to show that you don't need millions of spotify streams to catch the ear of the right people. The music videos' imagery for that album feel right in the lane of Yorgos and shows the art world actually becomes small AFTER you finish projects.
And yeah, this is the best film of the year. Emma Stone might be my favourite actress at this point. I was stunned. It's cliché but genuinely true for me here: I am not the same person I was before the movie.
Review by Andrew BloomVIP 9BlockedParentSpoilers2024-03-09T06:30:07Z
[8.6/10] A movie to recoil from, and to bask in.
Poor Things is a movie to recoil from because it is a story of abuse. The mere creation of Bella Baxter -- the movie’s wondrous, improbable protagonist -- is an act of abuse. Her erstwhile father, Godwin (cheekily referred to as “God” by his creation) implants the mind of a fetus into the mind of the poor child’s own suicidal mother, in a monstrous act. Even as he cannot help but develop paternal affection for young Bella, he keeps her locked away, attempts to marries her off to his assistant despite her immature mind, and treats as much like an experiment as an offspring.
Bella’s treatment at the hands of her own creator and surrogate father is abhorrent, and not for nothing, he’s probably the person who loves and respects her the most, which really sets the tone for the film.
Because things don’t stop there. A cad named Duncan Wedderburn (played with maximalist lunacy by a scenery-chewing Mark Ruffalo) spirits her away, rapes her, and keeps her like a pet in a jag and jaunt across the continent not unlike that of Humbert Humbert. Her attempts to break free are met with more control, anger, and even violence. Even friends, intent on showing her the world, do so with an intent to break her spirit. The madame at the brothel where she seizes her own “means of production” gives her a lifeline, but exerts her own brand of manipulation and assault.
And the piece de resistance of the film’s unconscionable abusers is Bella’s quasi ex-husband, quasi-father, who takes joy in cruelly, threatens her with firearms, plans to surgically remove her ability to enjoy sex, and accounts for, in his own twisted way, why Bella’s mother would rather leave this cruel world than bring her abuser’s child into it.
It is no coincidence that these controlling trespassers are almost exclusively men. Even the kinder ones, like Godwin’s more availing and understanding assistant, Max McCandles, takes advantage of Bella when she’s in an immature state and unable to consent, desiring the physical and ignoring the mental.
And it’s no coincidence that those who empower Bella, who teach her philosophy and politics and self-possession, are women. From Martha, the aging European cruiser who shows Bella theory; to fellow french prostitute Toinette who helps Bella see the confluence of politics and economics that give her a context and identify the scars that clue her into the past; to even Swiney, the madame who takes her cut but gives Bella perspective, those who lift Bella up share her gender.
In that, Poor Things is a peculiar sibling of fellow 2023 release Barbie, and a raunchier cousin of 2013’s Under the Skin in its equally off-kilter examination of what it is to be a woman, the projections and invasions of their male counterparts, and the abuse that must be endured simply for existing in this state. For all its outsized grandeur, Poor Things is startlingly frank in its depiction of many of these things, and it’s easy to flinch in its barest moments.
It’s also easy to flinch because Poor Things is a thoroughly gross movie. Gross because, being a modern day Frankenstein tale of surgeons and their subjects, it is riddled with scars, blood, and scattered organs. Gross because time and again the viewer must watch a person with the body of an adult but the mind of a child be taken advantage of sexually. Gross because it doesn’t shy away from the awkwardness and multitudinal expressions of sex in a way that is both affirming and repulsive in its peculiar way. This is not a movie for the squeamish, either physically or emotionally.
And yet, despite all of that, there is more than enough to bask in here.For one thing, Poor Things is a beautiful film. The cinematography evolves as Bella does, starting with ornate stage play sets in black and white, blossoming into gorgeous impressionistic settings in technicolor splendor, and eventually reaching a still exaggerated but ultimately more realistic presentation as Bella’s more mature view of the world comes into focus. The way the aesthetic mirrors the main character’s growth and understanding is both visually stunning and a masterful blend of vision and theme.
And the imagery works on its own terms. Director Yorgos Lanthimos and cinematographer Robbie Ryan craft an iconography that is worth the price of admission on its own. The style of Poor Things blends the larger-than-life expressionism of Fritz Land, with the misfits in a toybox world sensibilities of Tim Burton, with the liminal oddity of Jean-Pierre Jeunet, and the twee dioramas populated with broken souls of Wes Anderson. The production design and makeup and costuming, for Bella in particular, invite you into this particular, peculiarly-crafted world with its characters who are no less distinctive in look than in personality. In terms of pure style, pure vibes, pure feel, Poor Things is an experience all its own.
It is also blackly funny. Part of what cuts the grimness of the film’s subject matter is that laughs abound, in the dark absurdity of Bella’s various predicaments, of her matter-of-fact ways over around and through them, and in the almost slapstick-y moments of physical comedy that blend the sublime and the ridiculous. Even in its bleakest stretches, Poor Things carries an arch tone that helps the medicine go down.
It doesn’t hurt that this is one of the most quotable films of the season. In the script penned by Tony McNamara, Bella has a Vonnegut-esque way of identifying the absurdity of human existence by simply stating it plainly. There is a “from the mouths of babes” quality to her comments, driving incisive critique though blithely stating the obvious in a way that upsets polite society. Her matter-of-fact comments are often uproarious, from her agahstness at a new friend’s coital interregnum, to the aforementioned affirmation of a sex worker’s yonic take on Marxism, to Bella’s simple declaration that she need not keep chewing something that revolts her.
But that is the cinch of the film, because as much as Poor Things centers on the abusive and revolting, as much as it offers treats in the form of splendorous images and witty lines, it is ultimately a story of self-actualization. Star Emma Stone sells Bella’s journey from a developmentally challenged child who is misdirected and taken advantage of by all those who wish to extract her gifts for their pleasures, to a questioning young soul finding themselves and discovering their wants, to a worldly and experienced operator who is blunt in her assessments but no less direct or effective at reaching her desires, finally subject and not object.
That is the true focus of the film: what it is to grow-up, what it is to come into your own, what it is to become a person, with all the dangers and messiness and reckonings that entails, but in the right hands and the right company, what joys and solace it may bring as well. (Again, making it a funhouse mirror version of fellow Best Picture nominee Barbie.) Swiney tells Bella that we must experience the good and the bad, to have a full sense of the world, to know, to grow, and become. And in the end, Bella does.
Through all of her adventures, she comes out a battered but fully-formed, self-possessed individual, marked by experiences but also fortified by them. She abandons one abuser in good faith and then rejects and repels him when he blames her for all his self-made problems. She neutralizes her original abuser of sorts and turns him into an erstwhile pet for good measure. She brings her friends close, and finds a partner who is more understanding and forgiving.
Most of all, she breaks the cycle. What makes a man capable of the unfathomable acts Godwin commits sympathetic is that, as he recounts his own childhood of cruel experiments done dispassionately, you see the way he is merely perpetuating his own abuse, albeit with genuine affection breaking through for Bella. When Bella comes into her power, she does not forgive Godwin exactly, but she makes peace with him on his slow road to death. He committed the original sin of violation, lied to her, kept her, but is also the one who recognized her as a being of free will, and perhaps even one who provoked love through his futile attempts at detachment.
Ultimately, she follows in his footsteps, becoming a surgeon herself and stepping into his shoes. She spends much of the film bristling against the shackles of a system, finding the words to question it, and then building her own little oasis apart from it. There is great horror in the core of Poor Things, in its frank depiction of cruelty and craven use of another body and soul. But it is also a story of an ungodly creation who, through experiencing life’s offerings both harsh and wondrous, eventually supplants the man who sewed her together, and becomes her own creator.