I’m incredibly sympathetic to its warm nostalgia for ’70s aesthetics, even if the specific genre its cribbing from has never particularly appealed to me. Ultimately, though, the failure of Poor Things boils down not to ideology (or lack thereof), but to a thinly stretched narrative that trudges on far longer than a viewer’s attention span. The greatest sin of Poor Things is that it’s extremely boring: No transformative performance or exciting color palette can fix that. It isn’t devoid of fun — I quite enjoyed an unbroken scene depicting Bernstein’s flirtation — and the third act’s emotional beats occasionally succeed, but Maestro is a collection of exciting moments in search of an exciting film. By the end, the great scenes and the bad ones end up lying forgotten alongside Cooper’s dashed Oscar dreams and absurd campaign trail anecdotes.

Source: Daily Sun February 23, 2024 05:08 UTC