Directed by:
Lynne RamsayScreenplay:
Lynne RamsayCinematography:
Thomas TownendComposer:
Jonny GreenwoodCast:
Joaquin Phoenix, Alessandro Nivola, Alex Manette, John Doman, Judith Roberts, Frank Pando, Madison Arnold, Ronan Summers, Ekaterina Samsonov, Novella Nelson (more)VOD (2)
Plots(1)
Based on the novella by Jonathan Ames, the film follows Joe (Joaquin Phoenix), a former soldier and now ruthless hitman who is employed by ambitious politician Senator Votto (Alex Manette) to find his missing teenage daughter Nina (Ekaterina Samsonov) and punish those responsible for her disappearance. After discovering Nina has been lured into a notorious New York prostitution ring, Joe sets out on a dangerous rescue mission in an attempt to bring her home. The cast also includes Alessandro Nivola and Judith Roberts. (StudioCanal UK)
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Reviews (8)
Thematically quite close to my heart. Child prostitution, people trafficking, but in this film everything is so blandly presented that even the decrepit Joaquin Phoenix, whom I usually like, failed to impress me. A visually cheap film, artfully shot, interesting cinematography, off-screen violence, and most of all, never-ending boredom. We Need to Talk About Kevin was a far better film by Lynne Ramsay. This is a failure. 35%
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A similar "special edition" of the functional and mainstream-oriented classic Taken, as Maryland countered the classic The Bodyguard a few years ago with its intimate, European approach. Though that one was more understandable and more audience friendly, it also offered and approach and application of elements that were either missing in the classic with Costner or were handled in a different way. Here the filmmakers are looking for the same as the main character, an otherwise excellent Phoenix, but everything surrounding him is a hypnotic mashup without a single, downright climactic scene, with awkwardly experimental camerawork and no raw violence.
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An emotional quagmire of trauma, hopelessness, and yet another flawless performance by Joaquin Phoenix. This film isn't likely to appeal to a broad audience — it's too brutal, uncompromising, and depressing for that — but it will definitely resonate with a specific crowd. Personally, I'm drawn to these types of films. Sure, they leave me in an even worse mental state than usual, but something about them captivates me, even though immersing myself in such powerful and bleak stories isn't always ideal. The plot is simple and not particularly unique — essentially a classic crime story spiced up with a revenge thriller twist. However, the execution elevates it. The precise direction and the evocative score, beautifully complementing the narrative, are the film's main strengths alongside Phoenix's performance. There are several intensely brutal scenes, especially one at the end that really shook me. Still, I felt it could have been even more brutal; some scenes seemed slightly toned down. Yet, this was balanced by innovative camera work and directorial choices, like the use of security camera footage. Phoenix undergoes another complete physical and psychological transformation, becoming the character he portrays. He puts everything into his roles, and I wonder how long one can sustain such intensity without it taking a toll. The final scene cleverly blurs the line between a happy and tragic ending. You Were Never Really Here is a recommendation for discerning viewers who appreciate artistic approaches and are willing to wade through the muck of human suffering and emptiness.
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An indie version of Taken without everything that made Taken cool – stylish action scenes, likeable protagonists,
courage and interesting visuals. And without everything that could have made this indie version into a great movie – a
psychologically meaningful portrayal of the protagonist and her relationship to her protégé, artsy visuals or a deeper,
probably existential message. It’s not totally boring; the film’s dogged effort to be different at all costs has its moments
(for example, the kitchen scene with the wounded killer). But as a whole, it doesn’t rise above average, especially
because of the unremarkable ending.
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It’s an artistic experience comparable to Drive with Ryan Gosling. The difference is, though, that Drive is a stepping stone to the best that the genre has to offer, and You Were Never Really Here is only getting close to it quality-wise. The music, which forms the cornerstone of quality in movies like this, is, in this case, good, but it could easily be better. Similarly, the story, which isn’t the principal motive of the film, is simple and good, but sometimes it could have been more imaginative. Otherwise, the camera work is high quality and still offers a number of unique perspectives you wouldn’t expect from a classic thriller. And of course, Joaquin Phoenix is absolutely enchanting even though he doesn’t talk much. Had the finale been a little more striking, I would maybe even consider a 5-star review. This way, it’s 4 out of 5 notches on the handle of a hammer.
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