Top 5 Movies Similar to ‘Poor Things’ Available for Streaming Today

Here are some offbeat movies to watch after you see 'Poor Things'

Top 5 Movies Similar to ‘Poor Things’ Available for Streaming Today

Emma Stone’s unexpected win for Best Actress at the Oscars might have surprised some, but those who’ve experienced “Poor Things” can attest to the brilliance of her performance. Directed by Yorgos Lanthimos, the film not only showcased Stone’s talent but also earned acclaim for its costumes, production design, and makeup/hairstyling, highlighting Lanthimos’ mastery of visuals.

Drawing inspiration from Mary Shelley’s “Frankenstein,” the narrative revolves around Bella Baxter, portrayed by Stone, a peculiar amalgamation of a newborn’s brain in an adult body. This peculiar premise sets the stage for a fresh exploration of societal themes, allowing Lanthimos to cleverly critique the sexism and class divisions within his reimagined Victorian England.

With “Poor Things” now available for streaming on Hulu, here are five other films akin to its distinctive style and thematic depth.

‘The Favourite’

The debut collaboration between Lanthimos, Stone, and screenwriter Tony McNamara presents a departure from the fantastical elements of “Poor Things” while still maintaining a daring and outrageous tone, marked by a jubilant exploration of female sexuality. Stone portrays Abigail Hill, a destitute young woman who enters into employment under Queen Anne of Great Britain (played by Olivia Colman) during the early 18th century, facilitated by her familial ties to Sarah Churchill (Rachel Weisz), the Queen’s intimate confidante.

The relationship between Sarah and Queen Anne is portrayed with intimate fervor, leading to Abigail’s emergence as a contender for the Queen’s affection, thereby setting the stage for a rivalry between her and Sarah. Lanthimos paints a vivid picture of the royal court as a hub of decadence and intrigue, where opportunistic courtiers vie for influence over the mercurial Queen. Similar to “Poor Things,” “The Favourite” revels in its irreverence and humor, yet beneath its comedic surface lies a biting critique of societal norms, underscored by stellar performances, notably Colman’s Oscar-winning portrayal of the vulnerable yet manipulative Queen Anne.


Despite not receiving recognition from major awards organizations this past year, Marin Ireland delivers a performance in writer-director Laura Moss’ chilling adaptation of the Frankenstein narrative that rivals Stone’s work in “Poor Things.” Ireland embodies Dr. Rose Casper, a hospital pathologist who eschews human interaction and instead delves into macabre experiments within the confines of her apartment, utilizing biological specimens clandestinely obtained from her workplace.

When Rose inadvertently acquires the remains of her co-worker Nurse Celie Morales’ (portrayed by Judy Reyes) recently deceased five-year-old daughter, she is forced to confront the familial bonds she has long avoided. Ireland and Reyes forge a captivating on-screen partnership as two contrasting women united by their determination to sustain the reanimated child, traversing morally ambiguous territory as they pursue their scientific and maternal aspirations with unwavering resolve.

‘Bride of Frankenstein’

In director James Whale’s sequel to his 1931 classic “Frankenstein,” it’s easy to overlook the fact that the iconic title character only makes a brief appearance towards the film’s end. Prior to that, however, the narrative is filled with a plethora of peculiarities in this uninhibited continuation. Elsa Lanchester takes on a dual role, portraying both the Bride and Mary Shelley, making an appearance in a prologue to present the film as a purported extension of Shelley’s original tale.

Colin Clive and Boris Karloff reprise their roles as Henry Frankenstein and his monstrous creation, with Ernest Thesiger joining the cast as Henry’s eccentric mentor, Dr. Pretorius. Whale infuses the gothic horror with elements of absurdist humor, particularly as Dr. Pretorius pressures Henry into crafting a companion for the monster, demonstrating an utter lack of concern for the consequences of his own grotesque experiments. The off-kilter and peculiar interpretation of the Frankenstein narrative in “Poor Things” can be traced back to the groundwork laid in this sequel.

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Viral online discussions have drawn attention to the parallels between “Poor Things” and the cult favorite of director Frank Henenlotter, known as “Frankenhooker.” As the title suggests, “Frankenhooker” ventures further into vulgarity compared to the already risqué “Poor Things,” albeit with less depth. However, beneath its shock-value premise of a disturbed suburban recluse piecing together his deceased fiancée from the remains of murdered prostitutes, there’s more at play.

In “Frankenhooker,” Jeffrey Franken (portrayed by James Lorinz) is portrayed as unhinged yet somewhat endearing—a lovesick individual longing for his lost fiancée and exhibiting tender emotions towards the prostitutes he encounters, despite drugging them with “super crack.” Henenlotter’s film blends deadpan humor with grotesque scenarios, resulting in a distinctively unconventional viewing experience that has left its mark on unexpected fronts.

‘The Revenge of Frankenstein’

Similar to Godwin Baxter in “Poor Things,” Peter Cushing’s portrayal of Baron Frankenstein delves into brain-transplant experiments in this second installment of Hammer Studios’ celebrated Frankenstein series. Departing from Mary Shelley’s original narrative, screenwriter Jimmy Sangster and director Terence Fisher explore more esoteric gothic themes as Frankenstein endeavors to transplant the brain of a paralyzed man into a reconstructed body, aiming to grant him a chance at a normal existence.

This altruistic pursuit marks a departure from the typically depicted arrogance and callousness of the character, allowing Cushing to imbue his portrayal of Frankenstein with added layers of complexity. The eventual descent of the creature into a cannibalistic monster evokes a sense of sadness and poignancy amidst the horror, establishing a thematic tone that resonates throughout subsequent Hammer Frankenstein films, blending tragedy with terror.


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