“Poor Things,” a new Gothic drama starring Emma Stone, is one unique woman’s journey through science, sex and self-discovery.
Based on Scottish writer Alasdair Gray’s 1992 novel, and set in 19th century London, the story focusses on Bella Baxter (Emma Stone), who, when we first meet her, is a fully grown woman with the mind of a child. Her “mental age and body are not synchronized,” says her guardian, Dr. Godwin Baxter (Willem Dafoe) a.k.a. “God,” a disfigured man of science with an unconventional mind.
They live in a lavish home, which also houses Godwin’s menagerie of strange animals, like a half chicken, half dog, creations right out of the Island of Dr. Moreau, and an ever-patient housekeeper who cleans up after Bella’s frequent temper tantrums.
When Bella isn’t acting out, she soaks up knowledge like a sponge, wearing her curiosity like a badge. To chart her progress Godwin recruits his protégé Max (Ramy Youssef), a young scientist with an open mind and an open heart.
As Max develops feelings for the young woman, Bella becomes curious about the world outside the walls of Godwin’s home. She gets the chance to explore with lawyer Duncan Wedderburn (Mark Ruffalo), a flamboyant character who accompanies the now free-spirited Bella off on a romantic, picaresque excursion to Lisbon, Portugal. For the rapidly developing young woman, everything is new and she dives into every experience, including sex with gusto. “Why do people just not do this all the time?” she says to Wedderburn post coitus.
Her journey to self-discovery, free from the prejudices of polite society, sees her plot her own way to liberty by working as a Parisian prostitute, studying medicine, expanding her mind with the writings of Emerson and travelling the world. “I am finding being alive fascinating,” she says matter-of-factly.
An off-kilter “Frankenstein” story, “Poor Things” is the darkly funny tale of a human experiment who is not beholden to her creator. Unlike Frankenstein’s monster, she has a lust for life, an eagerness to drink from the chalice and savor every drop. From figuring out how to walk, spitting out food she doesn’t like—“Why keep it on my mouth if I find it revolting?”—to running off to an uncertain future, she finds freedom in the moment, and the zest with which Stone brings Bella to life is irresistible. “Ideas are banging in Bella’s head like lights in a storm!” she says.
It is a raw, strange performance, fearless in its execution. Rich in comedy—it takes a well-defined character to say, “I must go punch that baby,” and get away with it—and deep in pathos, Bella is the kind of character that we’re likely only to see in a film by Yorgos Lanthimos, director of oddball delights like “The Favourite,” “The Lobster,” “The Killing of a Sacred Deer” and “Dogtooth,” but it is Stone who makes the character simultaneously hilarious, sympathetic and disturbing.
Stone is supported by Dafoe as a mad scientist who wouldn’t be out of place working alongside James Whale or Tod Browning. It’s a bravura performance, under an inch of monstrous make-up scars, that reveals the human side of a man mostly interested in data, but who makes a space in his heart for Bella.
Ruffalo lets it rip, gleefully embodying the worst of humanity. The old money lawyer is braggadocious, uptight and a bit of a dim wit. The Avengers actor milks Wedderburn for all he’s worth, emphasizing his ridiculous suaveness to create a comedic character that is part Errol Flynn, part Derek Zoolander.
The success of “Poor Things” is due to that trio of performances laid against Lanthimos’s ornate set design and odd-ball sensibility. It is a coming-of-age, a long strange journey unlike any other, but one with a strong message of female agency. “A woman plotting her course to freedom,” says brothel owner Swiney (Kathryn Hunter). “How delightful.”
In “Wish,” a new musical-comedy featuring the voices of Chris Pine and Ariana DeBose, Disney celebrates 100 years of animated entertainment with a fairy tale featuring Easter Eggs referencing their classic films. There’s a deer named Bambi, snippets of the Pinocchio theme “When You Wish Upon a Star,” a magic mirror, and many other tributes.
Question is, does “Wish” live up to the tradition of the memorable films that came before it?
“Wish” takes place on the island kingdom of Rosas, a magical place where King Magnifico (Chris Pine) stores the wishes from people all over the world. “Imagine a place where wishes come true,” says Magnifico. “Where your heart’s desire can become a reality. What if I told you that place is within reach? All you have to do is give your wish… to me.”
At the age of 18 everyone in Rosas gives the King their deepest desire, which he then seals up in his castle’s observatory. “I grant the wishes I am sure are good for Rosas,” he says. Once a month he announces a winner and grants their dreams come true.
When 17-year-old Asha (Oscar winner Ariana DeBose) meets the king to apply for a job as his assistant, she hopes to convince him to grant her 100-year-old grandfather Sabino’s (Victor Garber) wish. When the king refuses, Asha uncovers a terrible secret. Magnifico not only deletes the memories of those who tell him their wants, he hoards the wishes to keep the citizens of Rosas compliant.
“King Magnifico has wishes in his castle,” Asha says. “He’ll never give them back. We have to free the wishes and return them to the people.”
To aid in her mission, Asha prays to the heavens and is visited by a cosmic force, a glowing, playful yellow star, named, appropriately enough, Star. “Joy, hope and possibilities, the most loving light,” says Asha. But the king sees the glowing star as a threat
As they join forces to stop Magnifico, the king manifest all his dark magic powers to stop them. “There is a traitor amongst us,” he bellows. “Find Asha.”
“Wish” has all the elements of classic Disney, but falls just short of memorable. The built-in nostalgia should appeal to fans as a centurial celebration, and aficionados will get a kick out of spotting the hidden tributes to the older movies, but the film is stuck in looking in the rearview mirror. It feels old fashioned, a celebration of what came before, from its look, to its storytelling. As pleasant as it is, there’s not much new happening here in its themes of the magic of dreams and power of good to defeat evil.
The mix of 2D and 3D animation evokes the look of Disney’s watercolor animation, but there is a dullness to the color palette that doesn’t jump off the screen. But, surreal talking mushrooms,
a carriage that sprouts legs and a sequence with Ziegfeld Follies style dancing chickens are fun, and inject some much-needed oomph to the artwork.
Character wise, its standard stuff, although Valentino (Alan Tudyk), a talking goat with a surprisingly deep voice earns laughs as he announces, “I cannot swim,” like Greek herald Stentor as he dives into the water. Best of all is the Star, a simple character with very expressive face, which is virtually guaranteed to move a bunch of plush toys as Christmas approaches.
Like the animation, the generic songs don’t perk up the ears, save for De Bose’s powerhouse vocals and Pine’s showstopping, villainous anthem.
As a celebration of 100 years of animation, “Wish” isn’t awful, just underwhelming. It feels like a blast from the past, with both eyes on the past, and none on the future.
