MPAA Rating: R/Genre: Dark Comedy Fantasy/Stars: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott, Jerrod Carmichael, Margaret Qualley, Kathryn Hunter, Suzy Bemba, Hanna Schygulla, Vicki Pepperdine, Wayne Brett, Tom Stourton, Carminho, Jerskin Fendrix/Runtime: 141 minutes

I think it’s safe to say that if you were to name the one thing that film reviewers such as myself constantly moan about until either we get a stomachache or the land of movie magic folds and just gives us what we want (typically the former more so than the latter incidentally) it would be that we want cinema that dares to be more than just original. Rather, we want cinema that delightfully and unequivocally dares to be odd if not plain different than the normal bill of fare and then proceeds to blow us out of the water with how downright awesome to say nothing of extremely thought-provoking that it ultimately turns out to be. Yet even though there aren’t that cinematic mad scientists around anymore who engage in this kind of work, there are still a few. Chief among them, and one name that definitely gets thrown around quite a bit, I can say without a doubt in my mind is film helmer Yorgos Lanthimos. Indeed, here is a man who might not have as many titles to his name as say the Spielbergs or the Scorseses of the filmmaking world, but whose body of work definitely fits the aforementioned work to a t. Indeed not only is reality thrown for a curve whilst society and etiquette mockingly rebuked, but there are also some intriguing concepts tossed into the mix as well. To be sure, there are definitely those who find his cinematic blend a bit confusing, unappealing, or both, but to me dear reader it is always a delight when I find out that the man has a new film coming out. This brings us to this iconic auteur’s latest slice of cinema, and movie I happen to be reviewing for you today, Poor Things and honestly this is very much a spot-on example of its helmer’s already established body of work and then some. Of course, being a fan of the guy’s work, it should come as no surprise to learn that this film also happens to be good. Like really really good dear reader. Like so good I definitely plan to see it again and own on Blu-Ray unless someone gets it for me on my birthday good. Indeed it quasi-sorta definitely maybe might not make for a movie that you would watch with just anyone, but if you can get on this film’s, to say nothing of it’s director’s, distinct wavelength I promise you will enjoy yourself immensely. Suffice it to say that with the aid of top-tier work on both sides of the camera Poor Things is one intriguing and thought-provoking cinematic adventure that I promise will definitely stay with you long after the credits have begun to roll.

The plot is as follows: An adaptation of a novel of the same name from 1992 by Alasdair Gray, Poor Things gets its intriguing narrative underway, following a brief yet narrative-integral prologue that I shan’t spoil here for you, during an alternate take on the Victorian era and at that distinct establishment of higher learning known simply as medical school. It is here we meet a slightly awkward, yet well-meaning and decent young man by the name of Max McCandles as he is in the process of listening to a research talk being given by a more than slightly esteemed yet also scarred to an extent member of the scientific community named Dr. Goodwin Baxter. We soon see that apparently young Mr. McCandles is able to make a positive impression with the good and seemingly eternally grumpy doc to such an extent that he recruits the lad to aid him in his scientific endeavors. As a result, it isn’t long before Max makes his way to the doc’s humble abode where, among the Island of Dr. Moreau-style hybrid animals wandering the property, he also meets a young woman by the name of Bella. A young woman who, among what I can reveal to you, is an untroubled yet slightly off upstairs if you get my meaning individual who not only is actually beginning to acquire intellect, but who Max soon finds himself drawn to. Now normally in another film of a similar vein to this one, you might think that this is where comedic shenanigans would ensue and at least one fight will be had yet ultimately, with the reluctant blessing of her surrogate father figure, the girl and her father’s younger assistant will eventually find true love with one another. As a result, the pair will then make their way off into the sunset before the screen cuts to black and the credits begin to roll thus ensuring everyone the theater leaves with a smile on their face and some warmth in their heart. With that in mind though, you should know that not only is this most certainly not that kind of movie, but that is not even close to what this narrative has in store for this burgeoning young couple. I say this because just as it looks like this blossoming coupling is about to get that happily-ever-after, we see that Bella is swept off her feet by a man named Duncan Wedderburn. A man whose career choice may be that of lawyer, but who undoubtedly was the individual that inspired the Lord to come up with the word “scoundrel”. Thus as our heroine embarks on a debaucherous tour around the world with her amoral amor by her side, we see that what started out as a twisted trip will eventually turn into an odyssey of self-discovery unlike any other. As for what that entails for our heroine to say nothing of the love-sick young man patiently waiting for her to come home that I shall leave for you to discover….

Now right off, it is worth noting that the work done behind the camera on this particular cinematic outing is nothing short of incredible. This starts with the undeniably terrific work done on the screenplay for the film by Tony McNamara. Indeed in his attempts to adapt this story for the big screen, we see that although the screenplay mostly consists at first of purposefully awkward to say nothing of highly laborious stops and sputters, there is still very much a beautiful cadence and verse to it. Yet, rather than be content with that, we see that as our main character starts to really grow from an intellectual perspective that the film also begins to permit the dialogue uttered to also transition into something a wee bit more on the extravagant side and it really is a delight getting to witness as this slice of cinema’s leading lady is able to become more and more nuanced with her particular views on the world. Suffice it to say that the work done here by the screenplay department might not be as wonderfully mean spirited as it was in Lanthimos’ previous cinematic effort, 2018’s The Favourite, but even so there is still no denying that it moves ahead with a delightfully piercing wit that it can say is very much its own. Alongside the work done here by McNamara, this slice of cinema also contains jaw-droppingly beautiful work from Robbie Ryan and the cinematography department. Indeed in his team’s efforts to conjure up for us as movie goers just how extravagant and glamorous the world of the film can be, we see that Ryan does a phenomenal job at utilizing an assortment of patterns as well as tints in order to get the job done. Perhaps this is why we see that this slice of cinema gets underway in, what is I am sure very much meant to be a delightful throwback to the Universal monster movies of ol, in a gritty black and white stylized format that is purposefully and elegantly designed to throw us in the audience off kilter whilst simultaneously also urging us to lean closer in equal measure. Yet as our main character slowly but surely becomes her own person, we see that the film does a grand job at reflecting that through just as regularly bursting forth into truly vibrant and jaw-droppingly gorgeous color work with perhaps the work done on the night sky during the ocean odyssey undertaken being a particular highlight. Operating as a wonderful accompaniment to that would have to be the vibrant work done by the production design team. Indeed not only does the team creatively tinker with an assortment of locales we think we have a familiarity with, but they also do a grand job at making each location also feel like its own character in this film as well.  Of course, I would be completely amiss if I didn’t take at least some time in this section to talk about the wonderfully eclectic work done on this slice of cinema’s musical accompaniment by Jerskin Fendrix. Indeed even though this is easily one of the more eccentric scores that I have heard in some time due in no small part to the sounds on display varying from creepy screeches from string instruments and disjointed rhythmic work to a more luxuriant flare that resembles an over the top take on Michael Nyman I also feel it should be said that, much like the other ingredients present, it manages to work remarkably well within the framework of the film. Suffice it to say that, when you also manage to incorporate dependably solid work at the helm by Yorgos Lanthimos, the work done behind the camera on this particular cinematic outing is more than just incredible. Rather, it is also no more or less than pure movie magic at its finest.

Even with all of the absolutely incredible work done behind the camera in mind though, there is also no denying that it is matched beautifully by the skilled performances given by the undeniably talented cast of players in front of the camera. Without question this starts with the nothing short of remarkable lead performance from Emma Stone. Indeed as the character of Bella, Stone is providing audiences with a performance that manages to be quite unlike a lot that we have been treated to before as we see Bella transition from being someone with the mind of a toddler to a three-dimensional person with their own distinct goals, dreams, wishes, and inclinations to say nothing of being quite the fan of what she calls “furious jumping” (as for what that actually is I’ll let you figure that out for yourself). It also doesn’t hurt though that every single step of this journey we are able to invest completely in Stone’s performance to such an extent that, despite this story being fairly ridiculous, she is always able to ensure that her character is at least rooted in some degree of realism. As a result, it feels like we have seen less an actress portray a character and more like we have witnessed the evolution of a person and in no less than 2 1/2 hours at that. Suffice it to say that this is more than just an iconic turn from an actress who has given us more than her fair share; rather, it’s also one of the better performances given this year to say nothing of one that should definitely garner Stone at the very least an Oscar nomination. Thankfully, we see that the skill on display by Stone is matched by the rest of the cast. Without a question the MVP amongst the group would have to be Mark Ruffalo who, in the role of Duncan Wedderburn, gives us a joyfully sinister yet also quite immature lothario whose only real incentives are no more or less than his own desires. Suffice it to say that I have always appreciated Ruffalo’s talent as an actor and here he is genuinely funny in a manner that I don’t think he has treated audiences to yet even as he plays an over-the-top antagonistical character that we might not fully like yet we still enjoy every minute of screentime we get with him. Alongside the top-tier work done by Ruffalo, we also get a phenomenal turn from the always enjoyable Willem Dafoe in the role of the slightly eccentric yet decent Dr. Baxter. To be sure, this slice of cinema could’ve just had this character be a one note mad scientist type, and there are some aspects of that there, but even so we see that Dafoe (being the immensely talented actor that he is and all) is able to provide a fairly solid foundation for this character and in the process really make him a heartfelt and loving surrogate dad to the main character. We also get a genuinely heartfelt turn here from Remy Youssef who, in the role of Baxter’s lab assistant Max, does a great job at giving us a confused yet loving young man who cares the world about Bella yet is content with letting her comprehend who she is first before reciprocating his feelings. Suffice it to say that, when you also factor in equally as incredible co-starring efforts from such talents as Jerrod Carmichael, Kathryn Hunter, Christopher Abbott, and Margaret Qualley among others, it’s clear that the team behind the camera on this film may have given us a truly incredible world, but props to this brilliant cast for giving us a collection of characters who all feel very much in synch in their own respective ways with that world in which they populate.

All in all and at the end of the day is Poor Things a perfect slice of cinema? Sadly no, but darn it all if it doesn’t come a heck of a lot closer than the vast majority of movies I have had the privilege of seeing. At the same time however, is this the worst slice of cinema since Willem Dafoe was in Speed 2: Cruise Control, Emma Stone decided to be a Hawaiian in 2015’s Aloha, and Mark Ruffalo thought 2006’s All the King’s Men was a brilliant career choice? Thankfully, and happily, I can say that is most assuredly not the case either though in the last example I can’t really say that’s entirely all Ruffalo’s fault given the rest of the cast that particular movie had most likely thought the same thing he did. Sarcastic comments aside, I really did dig the heck out of this movie dear reader. Indeed the work done behind the camera is nothing short of jaw-dropping in how it manages to bring this rather distinct world to life and then, seemingly not content with just that, providing it with a heart and soul all its own. As for the work done in front of the camera, it too manages to be just as exceptional thanks in large part to an extremely well-chosen cast of players who all, no matter how big or small the amount of screentime that their characters are given, manage to give us performances that are nothing short of engaging and lively in the best way possible. Suffice it to say then that if you are someone who likes your cinematic blends to be fairly straightforward or routine then trust me when I say that this is one slice of cinema that is most assuredly not for you, but don’t worry because there are still quite a few movies out there that I’m sure you’ll enjoy. If, on the other hand you are someone who is either ok with or lives for cinema that is willing to actually be a bit (or even more than that come to think) on the unorthodox or, dare I say it, original side then I can promise you that this is one film that you cannot afford to miss by any means. Suffice it to say that it might not be for everyone, but for the audience that it is meant for Poor Things is a beautifully made and potently acted cinematic experience that proves to be the debauchery-tinged hybrid of a certain monster movie and My Fair Lady that you never knew you needed, but you will certainly be glad it exists. Make of that what thou will dear reader. On a scale of 1-5 I give Poor Things “2023” a solid 4.5 out of 5.