Ekaterina Samsonov You Were Never Really Here Review
Story is about the life of 2 driveling and tortured souls
The story is near the life of two driveling and tortured souls revealed from opposite ages and genders. Both Joe (Joaquin Phoenix) and Ekaterina Samsonov character have been victimized by social club. Joe bares the physical scars by his abusive father who wanted him to become a direct male by beating his homosexual preference out of him. Then there is Ekaterina who has been sold as an underage sex slave to the wealthy and powerful sexual deviants such as top politicians. Joe is still trapped by the mental jail cell his male parent has left him with. He takes on "manly" jobs such as a hired gun to support himself and his elderly Alzheimer afflicted mother who is completely unaware of what he does for a living.
Joe is eventually hired by a wealthy man to find his kidnapped girl and bring her back. Simply a twist in the motion picture reveals he wasn't aware of the full circumstances backside her kidnapping. He finds himself beingness hunted.
Joaquin Phoenix does what he always does best. He becomes the character to the point information technology no longer feels similar we are watching an actor play a role in a pic. He actually wraps himself upwards in the graphic symbol and provides a fabulous performance. He does the subtle nuances of a man in potent conflict with his himself and the image his male parent had tried to project on him. The film does have a slow pace, but that is intentional. Phoenix takes his time to develop the graphic symbol very well on screen. This is his hallmark and what makes his film so swell. He puts in the hard work to brand us understand Joe. Unfortunately, many of today'south instant gratification generation don't have the patience to experience real storytelling. I wish more actors took this art form to the heights that Joaquin Phoenix does. He is truly one of the best actors in Hollywood.
103 out of 127 establish this helpful. Was this review helpful? Sign in to vote.
Permalink
Don't look to see Joker, Joaquin already brought his "A" game!
Joe (Joaquin Phoenix) is a human being you rent to track downwards missing people. Joe is too a skilled ex veteran who is permanently traumatised by his dark by. When Joe works, he walks around with confidence and has no problems using violence in order to get the job done. After getting the job done and collecting his pay, Joe comes home to his elderly mother who he takes intendance of.
Subsequently completing a recent task, Joe is before long offered a new mission from a New York senator. The mission is to find and rescue the Senator's 13 year one-time girl who may have been captured.
I enjoyed the fact that Joe equally a grapheme is no 007. It's clear that while he is skilled, he's besides a man with a horrible past, but in the stop... he is very capable for whatever task. To the audience, nosotros feel Joe does what he does to distracts himself or perhaps occupy to his thoughts from dwelling on his own personal hell.
The film is loaded with tension, but to my surprise it'due south also all shot beautifully. When Joe is on a mission, nosotros don't do see the smashing and bashing. The director here gives us plenty understanding to know what Joe is doing each step of the mode without needing to testify us every single detail. Other scenes are filmed creatively, assuasive us to see Joe's mind and thoughts. These scenes can come up across like a dream sequence and viewers might possibly find this slow and boring. Others may lock into what we see of Joe'southward world and exist thankful for how much nosotros get to see of his personal life. For me personally, I loved how creative this film was. Showing different camera angles and Joe'southward mind in depth only helped me to gain greater understanding of the situation and the characters. Naturally information technology's these types of moments that as well build the suspense!
From a performance level I loved Joaquin Phoenix. While I understand the role player has kept himself busy on screen, I personally enjoyed his work here more than annihilation else I've seen of him recently. The actress of the 13 year old victim (actress Ekaterina Samsonov) also acts incredibly and provides perfect screen chemical science with Joaquin Phoenix's graphic symbol. I personably enjoyed seeing these two work together as the story built up.
Overall, I constitute this film rather surprising in a positive style. The film is nighttime, gritty and loaded with tension every bit it progresses, simply we also gain a greater agreement to Joe's thoughts and his mind. Nosotros are given plenty of artistic item thanks to the awesome work from the director. That being said, I feel many will savour the pic's creativity while others might start to await at their picket during the film. For me, I loved it, and it was great to see something new and fresh in 2018 with even so some other solid performance from player Joaquin Phoenix. Worth a look!
eight.2/10 Walkden Amusement
202 out of 262 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Anarchistic at it'due south finest
Yes I am aware that many thought this film was deadening. Even so, it the dull and thoughtful burn of this film that makes it then unique and well done. It is, overall, a story about trauma and how this trauma has afflicted the protagonist. This is what trauma looks similar. I already loved it merely could further appreciate it after viewing a video by screened titled " How to Show Trauma" Just watch this video and so decide for yourself. Everything about this moving picture was very much intentional and for good reason.
63 out of 81 found this helpful. Was this review helpful? Sign in to vote.
Permalink
You Were Never Really Here - Review
Warning: Spoilers
The flick is framed with montages of apparently overheard conversations, chat with no apparent purpose, theme or coherence. If there is meaning to that collection information technology is elusive, particularly when so many phrases are indecipherable. That as well describes the film, a powerful just elusive narrative centred on a compelling, damaged hero. Ex-GI Joe completes a mission to recall a senator's 13-year-erstwhile daughter Nina from sexual enslavement. But it's not quite a character written report and it is too enigmatic for a clearly defined thriller. I'd call it an expression of the spirit of the age, especially as information technology references today'due south callous nexus of sexual and political exploitation in America. It's the perspective of Scottish writer/director Lynne Ramsay. A governor seeking re-ballot wastes many lives to recapture his favourite sex slave, the underage Nina. That corruption costs the lives of his supportive senator friend (Nina'south father), forth with Joe'southward boss, Joe's contact, Joe's delicate mother and several incidental thugs. While sensitively caring for his mother, Joe slips in and out of memories of his traumatic past, both as a Gulf War soldier and as the victim of an abusive father. His physical scars indicate to his psychological. His bare-chested scenes show Joe to be a massive physical presence, not muscular but bulky. His build is augmented past the majority the beard gives the already intense Joaquin Phoenix. It leaves him almost no face to read. Joe'due south physical bulk is the opposite to Nina'due south pre-pubescent frailty. But they share a common absence. Paradoxically, the very physical Joe is "never actually here." He is emotionally detached from his existence, paralyzed by the past traumas which he has attempted to flee in self-asphyxiation. Similarly, Nina retreats into the silence and removal of a drugged stupor so she is "never really hither" either. Both Joe and Nina count backwards equally if their retreat from consciousness were anesthetically induced. Telling details grow. In a miniature of Joe's emotional defoliation, he finds a greenish jelly-bean, his favourite, and so crushes it. Buried in a lake, his mother'southward long white hair escape the bag and float elegantly underwater. To bury her, Joe - suit and all - fills his pockets with rocks to deliver her to the bottom of the lake. The pedophile governor fingers the furnishings of a toy dollhouse, even setting in move a rocker (like the one he's off?). His luxurious mansion has a classical painting of a seductive woman with one breast exposed. The classical fine art is a cover for male-centred pornography, as the exposed adult female is a cover for his obsession with the apartment-chested girl. The violence is both ubiquitous and tempered. Most of Joe'southward assaults are off-camera or shown obliquely through a security system. Merely we meet him rip out a painful tooth, bloodying himself. As they chat, his amanuensis litters his desk-bound with tissues bloodied from his nose. In this globe breathing means claret. In this lawless America the only constabulary we meet are the ones who steal Nina from Joe, killing the hotel manager and Joe's connections. The governor has the ability to commit and to hibernate his corruption. An elected authorities official assumes he is above the law - and his officials support that warping. (It'southward only a moving picture. Correct.) If the villainy is current America so is the trace of promise. The large macho hero doesn't relieve this day. The pocket-sized driveling teenage daughter does. This is Me Too with a vengeance - and a political impact. After Joe entertains the despair of suicide, she returns trim and possessed and takes control: "Let's become." The final shot is of the diner table Nina and Joe vacated. It's an image of calm, symmetry, a pallid assurance a world abroad from all the film's splattering. The victims have survived, escaped, saved themselves. As America yet may.
97 out of 168 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Nightmarish trauma
'You Were Never Really Here' compelled me to picket it from the start. The fact that people were describing it as an unconventional thriller interested me, there are non many of those these days (speaking as a fan of thrillers), and so yous have an extremely talented actor in Joaquin Phoenix in the lead role. The positive give-and-take of oral cavity and absurd advertising added further to the promise.
Seeing it, 'You Were Never Actually Here' came over every bit very good and very impressive. Can totally understand why it is divisive here and it is non surprising that some were alienated by it and not used to a thriller being done differently. It's hardly the offset or merely divisive film from 2018 so far, 'A Quiet Identify' and 'Hereditary' were very different horrors that were critically acclaimed but polarising with audiences, personally loved both, especially 'A Quiet Place'. For me, that it was anarchistic was a big part of why 'Yous Were Never Really Here' worked equally well every bit it did. It is non quite a masterpiece and it but falls short of being 1 of my very favourite films of the yr (though it is however towards the top).
Information technology is non perfect. 'You Were Never Really Here' does have moments where the story could take done with more clarity, the vagueness did cause a trivial confusion at times.
Would have liked much more than evolution to the supporting characters, while the protagonist is splendidly drawn the remainder are sketchy.
Even so, there is and then much to like almost 'You Were Never Really Hither'. The product values are extremely stylish with some very creative shots and flick techniques, the rescue is particularly gritty and purposefully grainy in a security photographic camera way. The minimal dialogue was a skillful choice, information technology permit the temper fully sear and the uncompromising brutality and unsettlement ensures plenty of deliberately ho-hum-burning tension which helps brand the story arresting.
Lynne Ramsay directs cleverly, with a keen eye for visual style, letting the temper speak for itself and never letting the deliberate pacing to become dull or self-indulgent. That's personal opinion, just to make that clear to anybody who will vehemently disagree. 'You Were Never Really Here' is successful in fugitive clichés and having the action scenes brief, not frequent and mostly off-screen provided to be a bold and skilful movement. Joaquin Phoenix is excellent in the pb role, the intensity dripping off him at every plough. The rest of the cast do well merely not to the same level of Phoenix, but only because he is something else.
Altogether, very good but so many great things. With improve fleshed out characters and more clarity in some of the plotting, it would have been even better. eight/10 Bethany Cox
23 out of 37 establish this helpful. Was this review helpful? Sign in to vote.
Permalink
Joachim Phoenix delivers a standout performance in a fierce tale of crusading.
Joachim Phoenix ("Her") is a very intense thespian, and fits perfectly here into the role f Joe. For he is a hired thug, available to do over anyone you think deserves dispatching or giving a good telling off. His weapon of choice for this job is a ball-betoken hammer, bought each time from a local hardware shop. He is a ghost, who drifts in and out of his jobs, face curtained past a hoodie and emanating an air of menace that automatically deflects enquiring eyes.
When hired past a Senator (Alex Manette) to rescue his wayward daughter Nina (Ekaterina Samsonov) from the clutches of a paedophile gang, Joe delivers on the chore with gusto, and - you sense - a degree of satisfaction. But and so things go from bad to violent worse and Joe is drawn into a deadly high stakes game. As things get more and more personal, Joe embarks on a personal crusade for justice and retribution.
The real joy of this motion-picture show is that Joe is such a nuanced grapheme. Yep, he's a cruel thug, but is still living with and loving his anile and demented mother (Judith Roberts), even though she drives him to distraction. He's also conspicuously damaged himself, with a high degree of OCD beliefs exhibited. Via clever flashbacks, we get hints to the route that led the boy to become this damaged homo. Equally a sociopath, when things go wrong he could merely say "F*** it" and walk away. Merely he doesn't. Is this altruism? A sense of professional pride? Or is it the sight of a path to redemption? Although yous could strongly argue that revence kicks in to reinforce his decision, Lynne Ramsay's screenplay leaves things deliciously vague. Ramsey besides directs expertly: she previously did 2011's "We Need To Talk Almost Kevin".
"I don't like gory films" you lot might say "so this doesn't sound similar one for me". Me neither, only actually, the trailer makes the film seem worse than it is. The violence is more than alluded to than shown. Most of the "hammer action" is done either in long shot or seen on CCTV cameras, and you lot don't become to see much of the outcome. At that place is only one really gory bit that I recollect (shut your optics where Phoenix answers the knock at the hotel door if you are prissy!).
This doesn't mean that it's a comfy lookout though. It's an insanely tense pic since y'all're not certain the direction it will go in adjacent (recall "Get Out"), and it has more than its off-white share of "WTF" moments, especially in a dramatic closing scene. At that place are some memorable cinematic moments as well: a young girl in a nightie in the paedophile den blankly observing Joe's handiwork being i that stays with you.
It's a standout film, winning Best Actor (for Phoenix) and best screenplay (for Ramsey) at Cannes. It will exist in a strong position to make my films of the year listing. Highly recommended.
91 out of 160 institute this helpful. Was this review helpful? Sign in to vote.
Permalink
Overrated and Boring
Sometimes information technology is difficult to understand and believe in the IMDb User Rating. The disappointing "You Were Never Really Here" is one example of an overrated motion-picture show. Professional critics are opinion makers that serve as models to viewers that follow like sheep their opinions. This attitude might explain the IMDB User Rating.
With regard to "You lot Were Never Really Here", the storyline is confused; the lead character is poorly developed; the screenplay is atrocious; the pace is tiresome. Therefore, it is hard to accept the vii.ane rating. My vote is iii.
Title (Brazil): "Y'all Were Never Really Here"
289 out of 603 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Joaquin Phoenix is at his best
Warning: Spoilers
Please beware at that place may be spoilers.
I was moved by this pic. Every bit others have said sure aspects seemed weak, the plot for example. The story all the same was so stiff and and so badly needed to exist told. Phoenix gave such a passionate, all or nada performance that honestly this is 1 of my favorite films of his as far as the artistry and acting.
He connects so strongly with the young daughter that its palpable on the screen. This felt so incredibly real, without the fluff that seems to commonly come up with these types of movies. Injuries seemed realistic, the pain of the characters, the agony of the story. All in all give it a watch if you can handle the subject matter
88 out of 121 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Not what it appears
Warning: Spoilers
If y'all thought this was a film about a disturbed loner avenging an innocent, you got snookered.
The simply way to sympathise YWNRH is through a Freudian lens.
The theme of this film is not male parent-girl incest as it appears, merely rather mother-son incest.
Joe has an incestuous relationship with his mother. "Stay with me a picayune longer," she says when he puts her to bed. In the next scene, she is trying to cajole him into coming into the bathroom where she is naked. The multiple references to PSYCHO are not a coincidence: this too is the story of a human being transformed into a serial murderer by his obscene mother.
The story proper is nothing is a paranoid delusion: hence the title of the picture and the mysterious "invisibility" of the chief character.
The truthful story: Joe, as a kid, is dragged into an incestuous relationship by his mother. His father, whose job ought to be to prevent this regressive fusion, does non have the say-so to dissever them. He is also trigger-happy, also weak, or as well absent: nosotros never find out. All we e'er come across of him is a manus property a hammer. This scene must be understood as a metaphor. Father discovers their relationship and explodes; equally he rages impotently with his hammer, female parent and son exchange a complicit glance under the bed. Translation of the mother's flash: "He's impotent. Y'all're still MINE." On mother's credenza is a photo of her equally a young and beautiful woman and a photo of her son. Father has been eliminated from the film.
Joe rescues driveling girls. This is a fantasy. No driveling daughter ever existed, only an abused boy. Joe invents the story of a girl abused by her father as a displacement of the true abuse: a boy past his mother.
What really happens in the pic, and what is fantasy? What really happens is very simple. Joe murders his mother. Joe commits suicide. Mayhap the homosexual come across in the sauna and the drugs are truthful. Everything else is a delusion that he creates to escape from the horror of the truth. In Joe'south fantasy, he is a powerful homo and not a victim. He has a benevolent father figure (McCleary). He makes ample utilize of the hammer which appears to be the simply trace of a paternal legacy. The Nina character is how Joe sees his mother: every bit a beautiful, innocent, prohibited object of desire. Joe'southward mirage is simultaneously an attempt to understand the truth and an try to flee the truth. David Lynch uses this technique more explicitly in LOST HIGHWAY, MULHOLLAND DRIVE, and TWIN PEAKS. Information technology is very effective on film and Lynne Ramsay is correct to exploit it. In Joe's mirage, the male parent (represented past the two- dimensional Votto and Williams characters) takes "illegal" possession of his girl. In reality, this is how the young Joe perceives his male parent's possession of his mother: as an unbearable crime that must be punished. Did Joe murder his own father? Information technology is possible. Note that in all of Joe'southward traumatic flashbacks, women are being murdered, not men. These flashbacks are non existent. They are irruptions of Joe'southward deepest fantasy: murder his mother. He never went to Iraq.
One mean solar day, similar Ed Kemper, Joe finally kills his mother. He is the i who shot her in the caput. To exculpate himself, he flees into an unbelievable political conspiracy fantasy in which all symbolic fathers are pedophile criminals. Why is Joe so protective of his mother'south privacy? Because he doesn't desire anyone to find out what is going on betwixt them.
I wasn't certain the director understood her own story until the moment she replaced Joe's sinking female parent with Nina. Here she could not exist clearer: Nina is only a fantasy screen for Female parent.
In reality, Joe really does shoot himself in the diner. The fantasy of a happy future with Nina is just a screen.
I have read Jonathan Ames before and the theme of maternal incest is often implied (his fascination for transsexuals is further proof of an Oedipal thematic).
Good moving picture.
465 out of 809 institute this helpful. Was this review helpful? Sign in to vote.
Permalink
So much potential that never gets going
Joaquin Phoenix moves from strength to strength these days, truly moving into elite acting company via lead roles in highly regarded (whilst not heavily publicised) films throughout the 2000s. Unfortunately, You lot Were Never Really Hither doesn't quite encounter the expectations that the trailer promised - more of a dull-called-for, passive crime film that doesn't ever satisfy the viewer. The picture starts with a bang, immediately giving insight into Joe's (Phoenix) murky life equally a pseudo-hitman with some dramatic and gruesome violence. From this point on, the initial highs are so never reached once more - the plot becomes formulaic, and the characters practise not evoke emotion every bit they apparently should do.
Artistically, this movie does push the boat out: camera angles are used finer, with long sweeping shots accompanying the utilise of sound for a more than complete feel. Colour is besides vivid, with scenes suitably reflecting the dark tones constant throughout the film. However, this isn't plenty to elevate the lacklustre storyline to the standard Phoenix's projects are now associated with.
39 out of 65 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Would-Be Noir Thriller Never Gets Off the Ground
You lot could read the novella (much meliorate than the movie) in less time it takes to picket this clunky, utterly pretentious film.
Tick, tick, tick. I kept waiting for something to happen equally the showtime of the flick rolled by me like a horrifyingly deadening canon class. There is literally most 6 minutes of activeness in the entire film, the rest is tedious nonsense. Would it have killed the director to throw u.s.a. a bone somewhere before the movie is 1 third of the way over? Flashbacks to nowhere, taking care of the former and feeble-minded, and lots of slowness, very tedious. Someone needs to learn about pacing.
When nosotros finally get to the heart of the thing--and it takes forever and doesn't concluding long--the camera is tertiary rate and the activeness is fuzzy because the director is trying to make some sort of art film from ultra-violence which is a footling like playing classical music with a kazoo.
Simply because an actor is fat, hairy, and mumbles doesn't mean he'south putting in a stellar operation: just because the viewer has no freaking idea of what is going on doesn't hateful the manager is doing something admirable. Information technology's not that we're too stupid to understand what you're trying to say; it'southward that we don't care. One time once again, a director seems to have forgotten that films are supposed to be entertainment. Should appeal to folks who think that if a film makes no sense it must be deep. Not very watchable.
363 out of 753 plant this helpful. Was this review helpful? Sign in to vote.
Permalink
You Were Never Really Here
Warning: Spoilers
Contains Spoilers:
What a cute piece of art, the good goes against evil in this pic. The good being Joe and the bad being a lot of other people. The film has a lot of similarities with Taxi Commuter, merely while information technology carries the similarities with itself, it delivers information technology's own original identity in a flawless way. Lynne Ramsay's script put together with Joaquin Phoenix'southward functioning and Johnny Greenwood's absolutely superb soundtrack, delivers to y'all one of the most beautiful movies of the decade, for your own and this movie'south sake don't jump to conclusions with this 1 and requite information technology time; for me the flick really took life in the water sequence where Joe tries to commit suicide while drowning his mom's body, simply equally he is in the middle of drowning he suddenly sees Nina, drowning with him. Noticing that drowning himself would automatically drown Nina too, since she has nobody to save her, and thinking she isn't potent enough to practice information technology herself. He goes back for Nina, he kills the security guards goes within but sees that Nina saved herself, what he may non notice at that moment was that he was the one who gave her the power to fight back and salvage herself, but he thinks that he just added another not-so pleasant event to the girls life making her impale someone but she assures him "It's okay Joe, information technology's okay". Considering Joe might not notice it simply Nina seems to notice that Joe is a nice guy, actually he is a sweetheart, he holds the hand of the guy that killed her mom when he'southward dying and is scared, for christ's sake. Both leaves the house not knowing afterward all of this disturbing events will they exist able to but get on with their lives? that thought is seen in the diner, where Joe shoots himself in the caput while shedding 2 tears (a reverse type of De Niro's famous scene at the end of the Taxi Driver where he has a grin on his face up a few moments before his expiry). If the movie concluded there, Ramsay would imply that in between all of this darkness there is no effulgence, it can't be found. But the movies tricks you, with Nina coming dorsum we sympathise that Joe's asleep and that scene was simply just a dream, and with Nina's dialogue "Permit'south go, It's a beautiful day" Joe wonders, maybe it is a cute day, mayhap he tin can put the disturbing past of his childhood with his calumniating dad and the incidents of his work away. And when he sees that fifty-fifty if there is all of this darkness in this globe y'all tin nevertheless see the light, because y'all are the one who has the power and you are the one who chooses and understands without all of this darkness, the brightness would not have any significant; and he confirms Nina, "Information technology is a beautiful twenty-four hour period exterior" creating one of the almost beautiful endings of cinema. . . . . . . . EDIT: But you know what, that incestuous theory makes sense too...
319 out of 494 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Incredible performances and cinematography, but has a weak uninteresting plot
I'one thousand a huge fan of art films. This film is definitely inspired by taxi driver and that's i of the reasons why it caught my attending as I beloved that moving-picture show, but this picture is a huge let down. It's not proficient. The acting is x/10, the cinematography and camerawork is x/10, just the plot is horrible and boring. Take blade runner 2049'south slow (but awesome) pacing and slow information technology downwardly, throw in an uninteresting predictable repetitive recycled plot we've seen a billion times which could have been told within 20 minutes, requite the main character psychological traumatic problems and bear witness u.s.a. random crap that's going on in his mind, and you take this film. Information technology brings nothing new to the table and is done in a way that simply bores you. I love dramas, I know this movie is one, an art drama moving picture, but in that location Wonder, no suspense, no clever conversations, no anything really. I felt like I was watching a long video demonstrating Joaquin Phoenix's astounding acting.
In a nutshell this moving picture is a drama with your typical basic story line with phenomenal acting that you volition forget within a couple of days. I can just recommend information technology if love movies with beautiful cinematography and are a huge fan of Joaquin Phoenix, but if you're looking for an original unforgettable drama, a crime revenge motion picture, or any else y'all were expecting, I recommend staying away from this.
445 out of 666 plant this helpful. Was this review helpful? Sign in to vote.
Permalink
Nighttime, intense and immensely gripping; equally discreet as it is devastating.
'You Were Never Really Hither (2018)' is a dark, disturbing just discreet piece, 1 that's as off-kilter and uncomfortable as it is subdued. It'due south this remarkable restraint that allows its undercurrent of explosive violence, seedy deviance and childhood traumas to be all the more shocking and genuinely effecting when they erupt from the relative at-home on the screen. Information technology's an amazingly atmospheric and difficult sentry that doesn't hold your hand, so that if you lot aren't always fully engaged then you may not wholly grasp the most exposition-less plot. The explicit, brutally jarring flashes of a past narrative paint a picture of an incredibly wholistic implicit story, without filling in every bare, in an incredibly gripping way, leaving you to wallow in the head of a severely damaged individual and think well-nigh the feel for long afterwards the credits take rolled. 8/10
67 out of 136 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Yous Were Never Actually Here, only put, is a stunning piece of cinema.
Alert: this review volition excessively use the describing word "phenomenal". Phenomenal. Absolutely phenomenal. Phenomenally directed, acted and written. This astounding indie thriller volition exit you breathless. An incredibly rare achievement to leave me hypnotised long after the credits ringlet, but Lynne Ramsay's latest intrusive yet intimate graphic symbol report did that and and so some. Centralising on Joe, a war veteran suffering from PTSD, who accepts a job to think a pol's kidnapped daughter from a brothel. Even so in doing so, he risks the rubber of his mother and his own life. This showcases Ramsay'southward supremely defiant directing mode. Every scene, every photographic camera movement and every little item is a finely tuned mechanism to a large machine. The entire movie exudes confidence, such bold directing choices that elevates this above other indie titles. The visceral violence and bleak events that occur create several thrilling moments, but the palpable tension is illustrated through the grapheme of Joe. A damaged human being addicted to hurting killers to bargain with his hallucinogenic illusions that tamper with his sanity. Ramsay's screenplay never belittles him into an unlikeable country, the behests he accepts actually retains his humanity whilst portraying the excessive violence. All phenomenally played past Joaquin Phoenix who many consider to be one of the best actors working today. With this, I completely hold. Dialogue is kept to a minimum yet the amount of expression merely from his face and trunk linguistic communication was astounding. Jonny Greenwood's unsettling and intrusive score only adds to the heightened state of mind that the narrative conveys. Only utterly enthralling. My eyes never left the screen one time. The cryptic ending was the icing on the cake, solidifying its indie origins. Cute and horrific simultaneously. A perfect juxtaposition that illustrates the themes and technical talent conveyed through this phenomenal film. It gets the second perfect rating of the year. Cannot recommend this enough.
151 out of 329 found this helpful. Was this review helpful? Sign in to vote.
Permalink
You were never really hither and I've never been to me, either!
Fourth feature from the button-pushing Lynne Ramsay, YOU WERE NEVER REALLY Hither pits Joaquin Phoenix's emotionally blocked veteran Joe confronting a sordid kid prostitution band, meanwhile he is also seeking an outlet from the besetting trauma of his checkered past.
It is a gut-wrenching story on paper, but Ramsay configures sundry conceits to present a "reductive" diorama of the events, and the most prominent one is the viewpoint, which never deflects from Joe, hence signifies that there will be no lengthy flashback sequences to inform us what he has experienced (as a child, a soldier, etc.), merely through the transient fragments of memory incessantly penetrating into Joe's heads, audience can piece information technology together proximately, but never the full picture, considering for once, we don't need to know information technology, what is at stake here is its traumatic after effect.
Secondly, Lamsay flags up a bloated/beefed-up Phoenix's torso metamorphosis, which brings about the corporeal testimony of what he has been suffering from, transferred through Ramsay's hyper-real ascertainment (scars, trample, etc.). Joe'south knee-jerking coping mechanism towards the bane is self-suffocation, a leitmotif repeatedly wielded to induce our own gasping response, resounds hauntingly with the self-initiated count-down of Nina (Samsonov), the daughter whom Joe is hellbent on rescuing from her pedophiliac abusers. Phoenix won BEST Player is Cannes (along with Ramsay's script win), deservedly, his performance is arrestingly measured, profoundly unaffected but deeply affecting, considering he invites the states to care for Joe, a laconic, middle-aged, mom'south boy, a damaged good whose weapon of choice is a hammer, he makes good as a brutal enforcer, using violence to repress his disturbed land, which is caused by violence/corruption itself, it is a vicious circle he cannot outrun, and we can pour out our sympathy to him when a bereft Joe decides to stop his life in the lake (with the sublimely beauteous underwater stillness) before thinks better of it or almost the denouement, a startled figment of his imagination prompts a perversely comical/shocking combo.
Terminal but not the least, it is about how Ramsay choose to present its action of brutality, and she ingeniously points upwardly its "aftermath" instead of showing the actual execution (during his kickoff rescuing endeavor inside a high-end New York flat building, Joe's action is entirely captured by the fuzzy security camera), violence itself is ephemeral, what lingers backside is its aftermath, tangible, grisly and immutable. When Joe finally loses it afterwards seeing what Nina has done (a large letdown to fans of Alessandro Nivola though), it is a scathing gibe towards the country of affairs without the help of conventional verbosity, and inaugurates Joe'south mental ablutions of his own beingness.
In the event, Ramsay's clean-cutting, existential thriller owns to a lucid consciousness of its sensitive material, brilliant aptitude in its visual and sound literacy, likewise the film allows humor (a sprightly Judith Roberts as Joe'southward dotage-affected mother, sharing meta-PSYCHO joke in communion), and psychic vision (that moment when Joe realizes who is the culprit in his mind-scape) into the play, the main takeaway for me is the unexpected tendresse betwixt Joe and a hit-man he has mortally injured (Price), lying together on the floor, humming along Charlene'southward '80s ane-striking-wonder I'VE NEVER BEEN TO ME on the radio, and holding their easily, is the song really the respond to the film'southward English title? Yous were never really here and I've never been to me, either. Touché!
81 out of 172 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Fell and wonderful
Greetings once more from the darkness. Scottish director Lynne Ramsay doesn't shy away from tough material. In fact, she seems to thrive on it. Following the emotional turmoil of WE NEED TO TALK ABOUT KEVIN (2011) she delivers her latest, which can best exist described as barbarous. The brutality here is not the on screen violence - we get generally the aftermath or simply see the 'edges' of terrible deeds. No, the brutality hither is in a world that needs a man like Joe.
Joaquin Phoenix plays Joe, a former war machine man who lives with his mother. Joe has a particular gear up of skills that fit into the narrow career niche of rescuing kidnapped girls and ridding order of their captors. Rather than a hired gun, Joe is a hired hammer ... ballpeen hammer beingness his sentimental and strategic weapon of choice. Joe is also a fleck mentally unstable, probable suicidal, and haunted past inner demons. Yet he is also patient and kind with his elderly female parent (Judith Roberts).
Joe's most recent job is to observe and rescue a State Senator'due south daughter (Ekaterina Samsonov) from an cloak-and-dagger sex band run past some powerful political types. The job is a success right up until information technology isn't. It'south at this point when Joe finds a reason to live ... vengeance. It'due south also when Mr. Phoenix becomes a legitimate contender for an Oscar nomination. His blob of a human being with a lumbering gait experiences and dozens of body scars. He has these flashbacks which are so brusk spurts, at times they feel similar mere teases. Shortly enough nosotros get together the pieces to know the baggage from a traumatic childhood issue, and the front lines of a horrific war, have created this shell of a man with his own set of principles.
John Doman and Alessandro Nivola have small-scale supporting roles, only this ane rides on the battered and no longer symmetrical shoulders of Joaquin Phoenix, and the artistic stylings of filmmaker Lynne Ramsay. It is imagery combined with performance and the upshot is spellbinding. If you tin can handle it, the flick provides a cinematic journey to depths not typically reached.
Best not to fill in many of the film's specifics, only the comparisons to TAXI DRIVER are concerning. I found myself wondering if Paul Schrader was consulted in the adaptation of Jonathan Ames' source material book. The city streets and chilly hotel rooms scream gritty 1970's thriller, and the recurring shots of plastic bags over the caput emphasize the claustrophobia Joe experiences. This is doubtless meant to exist commentary on politicians and the decadent power they wield, but information technology works less equally that and more as a glimpse at one man's darkness. Add to that the pulsating score from Jonny Greenwood, and the creepy use of "My Angel Baby" by Rosie and Originals, and only i word can describe Ms. Ramsay'southward film ... fell.
15 out of 26 establish this helpful. Was this review helpful? Sign in to vote.
Permalink
Brutal and Reality-Blurring
Joaquin Phoenix stars in, You Were Never Really Here, a film that beckons memories of Taxi Commuter. It's an apt comparison since the two movies are deep character examinations, and Phoenix's grapheme in this moving-picture show, Joe, certainly shares similarities with Travis Bickle, Robert De Niro'south famous taxi driver.
The two men both have traumatic pasts that inflicted irreparable impairment on their mental health, and both men currently alive unsatisfying lives. The main difference is that Travis Bickle attempted to brand an honest living driving a taxi for a time before he, well, yous can sentinel the flick and observe out what he did. Just, Joe's way of making a living is unlawful from the beginning of the film. However, he did initially try a lawful career years before the moving-picture show's opening scene. I'll become there.
Joe is a hired gun whose job is to hunt down missing girls, bring them dorsum, and punish those that captured them. It's work not for the feint of heart. When asked if his methods are rough, Joe replies, "I can be." He'southward beingness small-scale.
Joe brutally disarms, injures, and kills anyone standing in the way of his missions. His preferred weapon: a ball peen hammer.
Despite all the killing, he's not a bad guy. He cares for his elderly and frequently confused female parent. The work he does, while often gruesome and heavy on killing, is for what nigh would agree is a good crusade. Few could retrieve the girls the way Joe does and even fewer would be willing to do so.
Joe takes no joy in any of his work. He takes no joy in any of his life. He continues frontward out of some sense of duty. He fantasizes often about suicide and attempts on occasion, only stopping when he remembers his mother or the girls in need of help.
He often experiences vivid flashbacks and fantasies that blur the lines betwixt what's real and non. The audition doesn't always know, and Joe doesn't always seem so sure either.
He'due south constantly haunted past memories of his past as a kid, a soldier, and an FBI agent. Each stage of his life left him scarred physically and emotionally. Phoenix is one of the nigh enigmatic, fascinating, and splendid actors of the past 20 years. It'southward hard to imagine other actors pulling off a performance like this one. He deserves commendation for his piece of work, as does managing director Lynne Ramsay.
Off-white warning: the movie is occasionally brutally violent and is frequently very confusing. It's not for everyone.
76 out of 152 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Why such a high score for an farthermost slow burner?
The high score does not make any cense. Nearly by of the movie dragggggssss, a ten minutes shower scene where he gets his thoughts back, yep actually dark in intense, NOT, it'south a bore. Nearly action scenes yous don't even see, always but off camera. At some point I fast forwarded the ho-hum scenes, it was just to much to bear, and finally had to turn it off considering actually zilch happens. If y'all're in to movies like Little Women, so information technology might be something for you, do y'all like action movies it'south not.
36 out of 66 found this helpful. Was this review helpful? Sign in to vote.
Permalink
some good work from Joaquin
Joe (Joaquin Phoenix) is troubled living in New York City caring for his elderly mother and asphyxiating himself for condolement from a troubling by. He is hired to recover Land Senator Albert Votto'southward runaway young daughter Nina from an underaged girls brothel. He buys a hammer and smashes his mode through his crusade. He saves Nina but are confronted past murderous corrupt cops. It's the tip of a dangerous conspiracy leading all the way to the governor's mansion.
The first thirty minutes is a fleck rough. It's an artsy meandering slow disjointed slice of life into Joe. I get it only it could exist clearer. Information technology does give a feel for the guy. It would be great to have a more than complete flashback to his military or policing days instead of curt flashes of everything. Once he gets hammering, the moving-picture show goes like a freight train with Joaquin driving hard. He delivers a great performance every bit usual. At that place is a shock ending which I don't like. Indies like to punctuate the cease of their movies with a gunshot. It's a flake cheap and feels non-expert. Overall, in that location are some dandy piece of work with a few flaws.
six out of 9 constitute this helpful. Was this review helpful? Sign in to vote.
Permalink
I wish I was never really here.
Alert: Spoilers
You Were Never Actually Here is an underwritten moving-picture show of pettiness.
I'1000 at a loss as to what I'g suppose to exit of this. There's virtually no dialogue, if y'all have out the vocal lines. Information technology'due south not annoying in any manner and Phoenix's fine in the limited role, but the picture has little to offer. I mean really, what makes this improve than whatsoever random Steven Seagal picture. At to the lowest degree in that location's some amusement in those.
I encounter a lot of reviews saying mostly negative things and however still rating it highly, the rating should reflect the review.
fourteen out of 26 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Pathetic!
My Rating : 0/x
Self-indulgent, extremely tiresome, boring and pointless.
Do not sentinel this garbage. Absolute waste of time!
19 out of 36 plant this helpful. Was this review helpful? Sign in to vote.
Permalink
You were never actually here: Art-firm, violent, action, thriller with a beating soundtrack
Film4 / BFI collaboration
This is an art-house, violent, action, thriller with a chirapsia soundtrack.
Adapted from Jonathan Ames'due south novel of a cleaved and tormented ex-military vigilante played past Joaquin Phoenix, hired to rescue a girl from a sex band.
Gripping and dark, this is a unlike kind of action film. To begin with Phoenix's character resembles an icy Liam Neeson 'Taken' character, simply slowly we come across flashbacks that imply he had an abused babyhood, the graphic symbol and story skilfully develop to just ever exist unsaid. But not only barbarous violence, Phoenix also shows some emotional, tender moments when highlighting scenes involving his female parent.
I like dialogue heavy films, but Phoenix gives an intense operation of a character with very little to say. Nonetheless, his deportment and expressions speak volumes.
The themes explored are: Revenge, torment, corruption, brutal violence, pedophilia and suicide.
35 out of 71 found this helpful. Was this review helpful? Sign in to vote.
Permalink
One of the most boring films I ever sabbatum through
Pretentious, boring, overly cogitating, and clearly aimed at moving-picture show buffs who will no doubt find all sorts of "references" in this motion-picture show. Unfortunately, the end product was a very wearisome experience in trying to stay awake.
287 out of 623 institute this helpful. Was this review helpful? Sign in to vote.
Permalink
Boring and frustrating
Just had me fed up well-nigh half way through. Really tried to like it. The shots were needlessly cocked and the music score often inappropriate. I could social club the lily all day with this and try to make information technology into something deeper than information technology is. In the end I just felt like fastforwarding it. Pretentious and ultimately painful to finish.
489 out of 908 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Source: https://www.imdb.com/title/tt5742374/reviews
0 Response to "Ekaterina Samsonov You Were Never Really Here Review"
Post a Comment