3.5 stars out of 5
Dear Poor Things:
Where The Wild Things Are called; it wants its font treatment back.
OK, on to the review! For the first 30–45 minutes, I was entranced by this film, laughing out loud, prepared to re-order my top movies of the year, and ready to hand the Best Actress Oscar to my long-time fave Emma Stone. Though I still think she deserves at least a nomination, and while it remains an enjoyable film with big laughs and impressive visuals, the wild creativity dries up as the movie goes on, and it becomes something much more by-the-book.
I do and yet do not blame Yorgos Lanthimos, one of my favorite directors to emerge in the 21st century. He co-wrote the first three of his features I saw — Dogtooth, The Lobster, and The Killing of a Sacred Deer — and all were dark and twisted. He did not write 2018’s The Favourite, which though still very good lacked some of Yorgos’s trademark wackiness. He again lacks a writing credit on Poor Things, and for me at least, it shows.
But again, the early going here is truly great. Willem Dafoe’s late career win streak continues as a demented but benevolent Dr. Frankenstein-type with some serious daddy issues. Emma is Bella, his daughter/experiment. Ramy Youssef, childhood friend of my young buddy Moses, is very likable as the student Dafoe hires to track Bella’s every move, in the name of science. Emma imbues Bella with childlike wonder, frustration, and curiosity, and it is such a fun performance to witness.
A puffy Mark Ruffalo shows up in a rare turn as a cad, just in time to take advantage of Bella’s burgeoning sexuality and “take her away from all this.” He’s good as always but if the movie had a smaller budget, the role would’ve rightfully belonged to Paul F. Tompkins.
In this section, the plot shifts to a somewhat more conventional coming of age/fish out of water tale. And as Bella’s intellect further develops, the fun starts to slip away. And unfortunately none of the other characters are dynamic enough to pick up the slack. On the bright side, being out in the world allows the filmmakers to create some gorgeous settings, such as the breathtaking sky the first time Bella steps out onto the deck of a ship.
Unexpected gripe from me but there’s too much sex in the movie. Early on, when Bella is discovering her sexuality, it fits the character development perfectly — it’s charming and funny. Later, it just becomes gratuitous and does not advance the story very much.
And, like in Batman Begins (ooh, 18-year-old reference, nicely done, Jack!), there is a completely unnecessary final act. The movie could’ve ended before that, saving all our butts some sitting time, and staying much more true to the main character.
Points added for casting my modern-day fave Margaret Qualley in a very small role.
Yorgos, thanks for another good time at the movies, with many goofy laughs. But in the spirit of the holidays, why not call your old screenwriting partner Efthimis Filippou? See how he’s doing, maybe kick around some zany ideas….
Jack Silbert, curator