I watched Poor Things and I didn’t like it. 2.5/5
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Poor Things is a visually striking and audacious film that’s impossible to ignore, but its relentless push for shock value ultimately becomes exhausting. Directed by Yorgos Lanthimos, this adaptation of Alasdair Gray’s novel is packed with strange, often surreal imagery and anchored by a fearless performance from Emma Stone. While the film’s bold aesthetic choices and Stone’s dedication to her character are commendable, Poor Things too often trades substance for style, relying heavily on shock-factor scenes that eventually lose their impact.
At the center of the story is Bella Baxter (Stone), a woman brought back to life by a twisted, Frankenstein-like experiment and thrust into a bizarre world of decadence, discovery, and indulgence. Emma Stone delivers a captivating performance, completely unfiltered and fully committed to Bella’s journey of self-discovery. Stone is fearless in this role, bringing humor, innocence, and complexity to a character who is both naïve and unapologetically curious about her surroundings. It’s a transformative performance that showcases her versatility, and she breathes life into Bella with a refreshing lack of inhibition.
Visually, Poor Things is an absolute feast. Lanthimos crafts a strange, gothic landscape that feels both nightmarish and enchanting, and the production design and cinematography are meticulous, creating a surreal, almost painterly atmosphere that fits the film’s twisted fairytale quality. Each scene is brimming with rich details, from the exaggerated Victorian decor to the vibrant color palettes, immersing us in a world that is as beautiful as it is grotesque. The film’s visuals are undoubtedly one of its strongest elements, elevating the story with a style that’s both unsettling and mesmerizing.
However, the film’s over-reliance on shock tactics quickly wears thin. Poor Things is packed with scenes clearly intended to provoke—moments of graphic sexuality, disturbing encounters, and exaggerated violence—that initially intrigue but eventually feel repetitive. The constant barrage of shocking imagery begins to feel more like a gimmick than an essential part of the story. While Lanthimos has a talent for pushing boundaries, here it often feels excessive, and instead of adding layers to Bella’s journey, it distracts from it. The reliance on provocation leaves the film feeling shallow, as if it’s trying too hard to be controversial without fully justifying its choices.
The pacing is also an issue, as the film moves between episodes of Bella’s self-discovery that don’t always feel cohesive. There’s a disjointedness to the narrative that makes it difficult to stay invested, and the shock elements further disrupt the flow, taking away from the moments that could have had genuine emotional impact. What begins as an intriguing exploration of freedom and agency loses its way, with scenes that seem designed more to surprise than to move the story forward.
In the end, Poor Things is a bold experiment that doesn’t quite land. Emma Stone’s fearless performance and Lanthimos’s striking visuals keep it from being a complete misfire, but the film’s obsession with shock value ultimately becomes tiresome. For viewers looking for a visually unique experience or fans of Stone’s work, there are certainly elements to admire. But for those hoping for a story with depth and purpose, Poor Things may feel like an exhausting exercise in excess.