Bell’s Bold Awakening - ‘Poor Things’ Film Review
by William Lindus
It almost feels like I shouldn’t be writing this review. I mean, that’s the job, but it would be a disappointing waste of virtual real estate if I didn’t write something. The thing is, Yorgos Lanthimos's latest darkly absurd comedy, Poor Things, is one of those rare films that leads you through unexpected, uncharted territory, scene by scene. I almost want my review to simply read, 'Poor Things is one of the best films of the year. Go in blind, read as little as possible, and see it immediately.' So, if you are someone who trusts my taste and recommendations blindly, that’s it. That's the review.
Still here? Cool.
There’s another reason why writing this review feels strange, one that requires more context and a deeper exploration of the layers of this incredibly daring film. Poor Things follows Bella Baxter, portrayed with reckless abandon by Emma Stone, as a woman learning how to be alive. This isn't a metaphor; when we first meet Bella, she has a limited vocabulary, toddles around on uncertain legs, and understands nothing about social cues. Early on, we receive hints about Bella's situation and how she came under the care of the mad scientist William Dafoe, who chews the scenery without pulling focus.
As the film evolves, so does Bella, learning more about language, self-awareness, sexuality, morality, philosophy, and actualization. This is why I feel uneasy trying to encapsulate her journey into a few short paragraphs, with a star rating or a thumbs-up or any other binary measure of worth we apply to stories. Bella's story is about a woman seizing control of her narrative and becoming the person she wants to be, not the person she is supposed to be. Her story is uniquely hers.
Discussing Yorgos Lanthimos's style is easier. Over the years, his style has crystallized, with Lanthimos unafraid to make scenes awkward and uncomfortable. His entire filmography is lined with characters following a thought process to an (il)logical extreme, often with disturbing effects. We see this in Poor Things, but also something new – a stronger sense of optimism. Films like Dogtooth, The Lobster, and The Killing of a Sacred Deer showcase characters initially unaware of how trapped they are, their struggles against boundaries met with discomfort and dread. Poor Things begins similarly, but the absurdity it injects into its formula – almost like adding a sprinkle of Michel Gondry – allows Bella to forge her own path despite the chains binding her initially.
Special attention should be given to Mark Ruffalo's roguish performance as a man smitten with Bella, who tries to take advantage of her naivety but eventually finds himself outclassed and outmatched by her. This is in contention for my favorite Mark Ruffalo performance to date. He finds comedy in every line, in every gesture, playing against type as a character who is unscrupulous and unlikeable, yet captivating in every scene he appears in.
Lanthimos allows the film itself to follow Bella's journey. It begins in black and white, confined rooms, transitions to a second act filled with desaturated color and boldly blocked set designs, and finally settles into a setting more alive and in tune with Bella's 'now.' This never feels gimmicky; Lanthimos understands the story he is telling and uses the visual language of film to propel it. It’s creative, wild, strangely uplifting, and incredibly funny. Discoveries like Poor Things are why I keep coming back to film, time and again.
5 out of 5 Bear Paws