Poor Things (2023) Review!!

Synopsis – The incredible tale and fantastical evolution of Bella Baxter (Stone), a young woman brought back to life by the brilliant and unorthodox scientist Dr. Godwin Baxter (Dafoe).

My Take – If you’ve seen The Lobster (2015), The Killing of a Sacred Deer (2017) and The Favourite (2018), you know what to expect from a Yorgos Lathimos film. Known for his intentional odd, quirky, and unsettling style, Yorgos Lathimos is a filmmaker with a specific wavelength who is able to draw you into his world with bold and exciting stories.

Perhaps, what is most impressive about his films is how strangely they are crafted together, from the way various shots are framed to all the way down to the dialogue moment to moment.

His latest too, starring Emma Stone in a career-best performance, is no different. Bizarre in the most exciting way, everything a fan would have expected and hoped for.

Adapted by screenwriter Tony McNamara (Cruella, The Favourite) from the 1992 novel by Alasdair Gray, this thoroughly outrageous romp is expectedly trippy and disturbing as it takes a fresh approach to the Frankenstein story in full Lanthimos trademark fashion. Examining the nature of identity and exposing the dark, hypocritical heart of Victorian society, the film works on every level, and the dialogue consistently hilarious.

Sure, it’s weird beyond what words could ever describe, but the craft onscreen is undeniable as it delivers a raw, bold, scathing critique on class, shame, sex, abuse, and dependence, all in impeccably awkward and satirically brilliant form.

Like many of his films before it, this one too is a robust package of candor about oneself that are as embarrassing to witness as they are impossible to deny. Making this yet another remarkable film of the highest quality from the Greek director, and deserving of all the praise and accolades in the upcoming awards season.

Set in Victorian London, the story follows Bella Baxter (Emma Stone), the secret experimental subject and ward of charismatic, troubled anatomist, Dr. Godwin ‘God’ Baxter (William Dafoe). Bella was a young pregnant woman who had taken her life by throwing herself from London’s Tower Bridge, but Dr. Baxter daringly had her body retrieved under cover of darkness and reanimated her using ghastly methods.

Now as an adult woman equipped with the brain of an infant, Bella is blessed with the intense curiosity and sense of wonder that only a newborn can have. Tutored and looked after by Dr. Baxter, his housekeeper Mrs. Prim (Vicky Pepperdine) and Baxter’s fresh-faced research assistant Max McCandles (Ramy Youssef), who falls soon deeply in love with Bella.

And though, Baxter permits Max to propose to his young pupil on condition that the married couple continue to live with him in his colossally intricate townhouse, disaster soon beckons in the form of a smarmy lawyer Duncan Wedderburn (Mark Ruffalo), who arrives with the documents formalizing this arrangement, but ends up seducing Bella and takes her away with him on a grand European tour of sensual indulgence and adventure.

Despite a run time of 142 minutes, there is not a dull moment in the film, as it keeps you invested in this wild tale, wishing it to never end. Boasting a strong screenplay from Tony McNamara that deals with themes such as patriarchy and identity with verve and style, witty dialogue and a stirring score, it impresses on every level.

What makes the film different from director Lanthimos’ previous work, which is equally surreal and cruel, is a higher key note reverberating through this film: Even when it’s dark, this is a thoroughly joyful film. We follow Bella, in childlike wonder discovering the wonderful world outside that is mirrored for the viewers in exaggerated sets, richly saturated colors and the surreal world-building of the fantastical places she visits, sharing with us that same joy of discovery. As they visit real places in the world, it’s done in an incredibly artistic and surreal way.

Much like his previous directorial works, the film has a striking visual style, both bizarre and evocative, harkening back to the Golden Age of through the implementation of sound stages and painted backgrounds. At times, cinematographer Robbie Ryan even employs fish eye lens, which distorts perspectives, fostering a sense of disorientation and wonder.

He creates a dreamlike atmosphere, while his subtle utilization of zooms and tracking shots intensifies the astounding artificiality of proceedings. The production designers, art directors, set decorator, costume designer, and the makeup department all deserve endless praise for their work here. As they brought director Lanthimos‘ vision to life in stunning fashion.

Thankfully, it doesn’t only overwhelm with its abundance of style and larger-than-life performances, it has something to say too. As Bella, with the voraciousness a child, develops a taste for both sexual and intellectual gratification, the film cleverly uses her unbiased perspective to ask seemingly logical questions about some of the established gender roles and class roles she perceives in the world around her.

As good as it is on its own, the success of the film rests entirely on Emma Stone‘s performance. What she does goes far beyond an actor delivering lines and creating a character. Her performance is surgically precise, breathtakingly fearless, full of heart, and very, very funny. She’s a true revelation here and her chemistry with Mark Ruffalo is hilarious.

He also deserves all of the recognition he’s receiving for this. As the seedy, pathetic Duncan, Ruffalo does marvelous work. He is hilariously over-the-top and a delight to watch. Willem Dafoe is, as always, terrific, while Ramy Youssef does commendable work, bringing an understated calmness and sincerity to the role.

In supporting roles, Christopher Abbott, Kathryn Hunter, Jerrod Carmichael, Hanna Schygulla, Vicky Pepperdine and Margaret Qualley add their own value. On the whole, ‘Poor Things’ is an impeccably weird off-beat comedy that is throughout witty, original and compelling.