Poor Things: horror fantasy film reviewed by Mark Kermode (video).

In the latest cinematic escapade from director Yorgos Lanthimos, Poor Things twists and twirls through a labyrinth of science fantasy and black comedy for our man-of-man-movies, film reviewer Mark Kermode, leaving both the man and this flick’s audiences both bewildered and thoroughly entertained.

This 2023 film, penned by Tony McNamara, is a delightful romp starring the likes of Emma Stone, Mark Ruffalo, Willem Dafoe, and others, who bring to life a tale as peculiar as it is engaging.

Set against the backdrop of Victorian London, the film follows Bella Baxter, portrayed by Stone, who experiences a rather unconventional resurrection at the hands of a scientist after her untimely suicide. The plot thickens as Bella, armed with the brain of her unborn child and a newfound zeal for life, dashes off with a debauched lawyer to embark on a wild odyssey of self-discovery and, let’s just say, unrestrained sexual liberation.

Premiering at the 80th Venice International Film Festival, where it snagged the Golden Lion, Poor Things waltzed into the hearts of critics and audiences alike. Not to be outdone, the film scooped up accolades at the 81st Golden Globe Awards, including Best Motion Picture – Musical or Comedy, and a Best Actress nod for Stone, who truly outdid herself in this role.

The narrative of Poor Things is as twisted as a corkscrew at a wine tasting. Stone’s Bella is not your average Victorian lady. Resurrected with a baby’s brain, she’s initially as naive as they come, but don’t be fooled. Her journey from docile to daring is nothing short of remarkable, catapulting her into a series of escapades across Europe that would make even the most seasoned traveler’s head spin.

Enter Ruffalo’s Duncan Wedderburn, a character so deliciously unscrupulous he could give Victorian villains a run for their money. His attempt to keep Bella under his thumb is as futile as trying to keep a cat in a bath. Bella’s growth from a naive young woman to an assertive force of nature is a testament to Stone’s range and sheer talent.

Now, let’s talk style. If you thought The Favourite was a visual feast, Poor Things takes it up a notch. Think steampunk meets surrealism, with a dash of Gothic horror for good measure. It’s like someone threw a Magritte painting into a blender with a Victorian novel, and the result is this wonderfully bizarre film. But not everyone’s cup of Earl Grey, it seems. Critics are divided, with some praising its audaciousness and others questioning its feminist credentials. The film’s steampunk aesthetic has been a particular point of contention, drawing both admiration and ire. As for the score by Jerskin Fendrix, or should we say Joscelin Dent-Pooley, it’s as quirky as the film itself. Oboes, bagpipes, and accordions come together in a symphony as eccentric as the film’s narrative, perfectly complementing the onscreen madness.

In Poor Things, Lanthimos and McNamara have concocted a cinematic confection that’s as rich in flavor as it is in controversy. It’s a wild ride through a fantastical version of the past, one that challenges conventions and expectations at every turn. For readers of SFcrowsnest, this is one science fantasy adventure that’s as unconventional as it is unmissable. With its unique blend of horror, fantasy, and cheeky humor, Poor Things is sure to leave an indelible mark on the landscape of 21st-century cinema.