Poor Things (2023)

Yorgos Lanthimos, the director known for films that are equal parts quirky and unsettling, brings us Poor Things, a Victorian-era Frankenstein flick with a feminist twist. A mad scientist stitches together a woman from spare parts, and wouldn’t you know it, she’s not your average lab rat. Bella, played with infectious charm by Emma Stone, is a firecracker with a thirst for knowledge and a rebellion simmering beneath her patchwork skin.

Let’s get the good stuff out of the way first: Stone is a revelation. She throws herself into the role with reckless abandon, imbuing Bella with childlike wonder, fierce determination, and a touch of manic glee. The supporting cast, including Willem Dafoe as the eccentric scientist and Mark Ruffalo as a slimy lawyer, are equally captivating, each overacting with relish. Lanthimos’s signature off-kilter aesthetic is in full force, with fish-eye lenses and jarring jump cuts creating a dreamlike world that’s both unsettling and strangely beautiful.

But Poor Things isn’t all sunshine and stitches. The plot, while zany and unpredictable, can feel meandering at times, losing its steam in the middle act. Some of the social satire feels heavy-handed, and the film’s attempts to tackle complex themes like gender identity and bodily autonomy can be hit-or-miss. The ending, while satisfyingly weird, leaves some character arcs dangling, leaving you with more questions than answers.

So, is Poor Things worth stitching yourself onto the cinema seat for? It’s a mixed bag. If you’re a fan of Lanthimos’s brand of absurdity and Stone’s offbeat brilliance, you’ll find plenty to love. But if you’re looking for a tightly woven narrative with a clear message, you might be left feeling a little Frankenstein-ed.

Poor Things is a visually stunning, darkly comic romp with a powerhouse performance from Stone, but it is hampered by a meandering plot and uneven thematic execution. In the end, Poor Things is a film that’s both fascinating and frustrating, a Frankenstein’s monster of cinematic delights and narrative flaws.

(In cinemas — check your local movie guide for show times.) 

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NOTE: This review is the result of a partnership between my creative vision and an AI tool’s capabilities. While the AI provided ideas and content suggestions, my critical thinking and editing crafted the final work, ensuring each element reflected my personal views and voice. In light of the current debates about AI in creativity, I’m committed to transparency, highlighting this work as a fusion of human imagination and technological aid. I confirm that I have seen the movie.