Poor Things

UK Release Date: 12 January 2024

Certification: 18

Director: Yorgos Lanthimos

Cast: Christopher Abbott, Suzy Bemba, Jerrod Carmichael, Willem Dafoe, Margaret Qualley, Mark Ruffalo, Emma Stone, Ramy Youssef

Rating: 79%

Review:

Yorgos Lanthimos' latest film, Poor Things, is by far his most ambitious feature. Tackling feminist ideals, a woman's appreciation of her own body and the transition from childhood to young-adolescence - most of which is layered in metaphorical subtext. There is a lot to take in and process fully. 

Akin to Mary Shelley's gothic tale of Frankenstein and his monster, Poor Things explores that godlike complex that the 'scientist' has over its 'experiment'. With Bella (Emma Stone) referring to her surrogate father, Godwin (Willem Dafoe), as God. It creates an interesting dynamic between the two that shapes the opening act of the film. There's a certain level of respect and admiration that was never present in Frankenstein, establishing an aura of safety and comfort within Godwin that is simply not warranted, regardless of Dafoe's charm. 

Emma Stone and Mark Ruffalo are nothing short of astonishing together. The film truly flourishes when the two are interacting on-screen. Both reaching new career highs delivering nuanced insights into the vast spectrum of the human mind. A theatre camp rehearsal process proceeded filming allowing the cast to become completely comfortable with one another, a sentiment that carries through to the screen. 

Stone spoke a lot about having to unlearn rather than learn in order to play the role of Bella Baxter and that bleeds through onto the screen. Numerous stages of walking style, improvements in vocabulary and social skills as the film progresses reflecting Bella's mental state, emotional maturity and most importantly, her curiosity.

Ruffalo nails the comedic beats with tremendous timing. From Crazy, Stupid, Love to Superbad, it's clear that Emma Stone can do comedy but in Poor Things it was a completely unexpected, but delightful, turn from Mark Ruffalo - one that is sure to see him pitted against fellow Avenger, RDJ, at the Oscars. 

Speaking subjectively, I loved the first hour of the film. Entranced by the painted seas of black and white before transcending into a backdrop of deep purples and blues, once again reflecting Bella's own level of maturity. Once the film reaches Paris, it loses a little bit of steam but it remains enjoyable enough to provide a satisfying conclusion. 

A technical marvel from top to bottom - phenomenal production design, inventive costume design and intriguing cinematography. These are the aspects that truly bring the film to life. A set littered with hidden body parts, both phallic and innate. From a vagina shaped light switch in the brothel to an ear shaped roof in Bella's room, the level of detail and care from production is captured in the film. A tenderness only enhanced by Holly Waddington's expert costume design firmly setting the film within a Victorian London, where a portion of Frankenstein took place.