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‘Poor Things’ Review – Yorgos Lanthimos’ Frankenstein-Like Tale Celebrates the Magic of Curiosity

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Poor Things review

In Yorgos Lanthimos comedic and fantastical Poor Things, an adaptation of Alisdair Gray’s novel, the mad scientist does what Dr. Frankenstein never dared to do: he lets his creation free out into the world instead of seeking to kill it. It’s not fear that drives this decision but love, and it sets the tone for a dazzling, bizarre, and imaginative fairy tale of a journey fueled by curiosity.  

The mad scientist here is surgeon Dr. Godwin Baxter (Willem Dafoe), a disfigured medical experiment himself at the hands of a cruel father. His creation is Bella Baxter (Emma Stone), a recently deceased woman he’s revived by replacing her brain with that of her unborn baby, rendering her an infant in a grown woman’s body. Godwin tenderly raises Bella as her young mind develops, enlisting an assistant in medical student Max (Ramy Youssef) to document her early stages of re-life. But Bella is a fast learner with determination and free will. The moment scamp Duncan Wedderburn (Mark Ruffalo) enters Bella’s life, helping along her development mid-sexual awakening, she embarks on a sprawling voyage of discovery and curiosity.

Willem Dafoe Poor Things

Willem Dafoe in POOR THINGS. Photo by Atsushi Nishijima Courtesy of Searchlight Pictures. © 2023 Searchlight Pictures All Rights Reserved.

Lanthimos, working from the screenplay by Tony McNamara (CruellaThe Favourite), captures the highs and lows and growing pains of Bella’s journey with whimsy and wonder. Robbie Ryan’s cinematography, using a mix of 35mm film stocks, infuses even more personality into the mix. Bella’s sheltered, early development stages are shot in black and white, evoking The Wizard of Oz as flashbacks and Bella’s life outside the Baxter household switch to a vibrant jewel-toned color palette. The palette almost imperceptibly changes as Bella herself is changed by her evolution, shaped by life experiences. Wide angle, fish-eye lens gets employed to great effect, a means of both conveying the strangeness of discovery and scale. Holly Waddington’s costume design also matches Bella’s evolution to an awe-inspiring degree, telling a story in and of itself.

Much like her character, there’s a fearlessness to Emma Stone’s performance. Bella is driven almost solely by curiosity and a deep fascination with the world. Stone handles it all with a nuanced frankness, whether she’s exploring Bella’s clumsy, heavy-footed toddler behavior or finding liberation through sex, with zero concerns about taboos or impoliteness. Bella begins as a blank slate, eager to be shaped by the world around her. She doesn’t know cynicism until she feels the sting of it. She didn’t understand fear until she learned of it. It’s Stone’s comedic and blunt portrayal of Bella that makes Poor Things such a profoundly human experience.

Emma Stone bitten in Poor Things

Photo by Atsushi Nishijima Courtesy of Searchlight Pictures. © 2023 Searchlight Pictures All Rights Reserved.

Employing simple, old school techniques that include miniatures and ethereal painted backdrops, Poor Things celebrates a world made richer by curiosity. Lanthimos, through exquisite style and form, all but asks his audience to recall a golden era of cinema driven and shaped by audience curiosity. It’s a beguiling reminder that curiosity enriches us, even when it leads to painful encounters and harsh lessons. Above all, it highlights how an expanded worldview deepens empathy. For a story that draws from Frankenstein, birthing an inverse fairy tale world that shows what kindness might have afforded Dr. Frankenstein’s creation, there’s perhaps no more fitting theme than that.

Poor Things’ dedication to bluntly exploring the weirdest quirks of humanity, from infancy to adulthood, is the precise type of strange cinema that mainstream audiences will find off-putting. Yet through Stone’s audacious performance and Lanthimos’ awe-inducing approach, Poor Things fearlessly and humorously champions the magic of curiosity that’ll reward adventurous movie lovers.

Poor Things releases in select theaters on December 8, followed by wide release on December 22, 2023.

5 out of 5 skulls

Horror journalist, RT Top Critic, and Critics Choice Association member. Co-Host of the Bloody Disgusting Podcast. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon and SeriesFest.

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‘The Strangers: Chapter 1’ Review – New Trilogy Kicks Off with a Familiar Start

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The Strangers Chapter 1 review

Rebooting and expanding upon Bryan Bertino’s chilling 2008 horror film in a brand new trilogy, all installments already shot as part of one continuous, overarching story, makes for one of the more ambitious horror endeavors as of late. It also means that The Strangers: Chapter 1 is only the opening act of a three-part saga. Considering it’s the entry most committed to recreating the familiar beats of Bertino’s film, Chapter 1 makes for a tricky-to-gauge, overly familiar introduction to this new expansion.  

The Strangers: Chapter 1 introduces happy couple Maya (Madelaine Petsch) and Ryan (Froy Gutierrez) on their way to starting a new life together in the Pacific Northwest. Car troubles leave them stranded in the quirky small town of Venus, Oregon, where they’re forced to stay the night in a cozy but remote cabin in the woods.

Naturally, the deeply in love couple soon find themselves in a desperate bid to survive the night when three masked strangers come knocking.

The Strangers Clip Madelaine Petsch

Madelaine Petsch as Maya in The Strangers. Photo Credit: John Armour

Director Renny Harlin, working from a 289-page screenplay by Alan R. Cohen & Alan Freedland that was broken into three movies, keeps Chapter 1 mostly self-contained to recapture the spirit of the original film. The core remains the same in that it’s reliant on the eerie stalking and escalating violence that builds toward a familiar conclusion, but Harlin mixes it up a bit through details and set pieces that hint toward the larger story around Venus itself. The early introductory scenes establishing both the protagonists and their setting offer the biggest clues toward the subsequent chapters, with the bustling diner giving glimpses of potential allies or foes yet to come- like the silent, lurking Sheriff Rotter (Richard Brake). 

One downside to announcing this as a trilogy is that we already know that the successive chapters will continue Maya’s story, robbing more suspense from a film that liberally leans into its predecessor for scares. The good news is that Madelaine Petsch brings enough layers to Maya to pique curiosity and instill rooting interest to carry into Chapter 2. Maya begins as the gentler, more polite half of the young couple in love, but there’s a defiance that creeps through the more she’s terrorized. On that front, Petsch makes Maya’s visceral fear tangible, visibly quaking and quivering through her abject terror as she attempts to evade her relentless attackers.

The Strangers – Chapter 1. Photo Credit: John Armour

It’s her subtle emotional arc and quiet visual hints toward the bigger picture that tantalize most in an introductory chapter meant to entice younger audiences unfamiliar with the 2008 originator. The jolts will have a harder time landing for fans of Bertino’s film, however, even when Harlin stretches beyond the cabin for stunt-heavy chase sequences or gory bursts of violence. It’s worth noting that Harlin’s tenured experience and cinematographer José David Montero ensure we can grasp every intricate stunt or chase sequence with clarity; there’s no worry of squinting through the dark, hazy woods to make out what’s happening on screen. A more vibrant color palette also lends personality to Venus and its residents.

The Strangers: Chapter 1 exists in a unique place in that it’s the first 90 minutes of what will amount to a roughly 4.5-hour movie yet doesn’t give much away at all about what’s ahead, presenting only part of the whole picture. Chapter 1 does a sufficient job laying the groundwork and delivering horror thrills but with a caveat: the less familiar you are with The Strangers, the better. Harlin and crew get a bit too faithful in their bid to recreate Bertino’s effective scares, even when remixing them, and it dampens what works. The more significant departures from the source material won’t come until later, but look to a mid-credit tease that sets this up.

The Strangers: Chapter 1 doesn’t establish enough of its own identity to make it memorable or set it apart, but it’s just functional enough to raise curiosity for where we’re headed next.

The Strangers: Chapter 1 releases in theaters on May 17, 2024.

2.5 out of 5 skulls

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