There’s nothing I love more than the portrayal of the haziness between good and bad, where one ends and the other begins. Barry Hertz. Primarily based on director's influences and recommendations. Expanding significantly on the relationship as described in the novel, Ramsay picks out piquant observational details to etch a quiet mother-son bond grounded in shared anguish and victimhood, with delicate domestic nuances that are plainly the work of the woman who made “Ratcatcher.” Stray, chilling incursions of a man’s admonishing voiceover into the film’s densely layered soundtrack are all we need to fill in a backstory of severe spousal and parental abuse.Following her marvelous “Kevin” and 2002’s “Morvern Callar,” “Here” extends Ramsay’s highly idiosyncratic style of literary adaptation, in which the written word is taken as a half-erased foundation for a more impressionistic, sensory evocation of the psyche at hand. This is surely the first and last revenge thriller to feature hunter and felled prey holding hands for a mumbly gallows singalong of Charlene’s “I’ve Never Been To Me.” He may be no more Nina’s rescuer than she is his; Phoenix and the impressive Samsonov (also glimpsed at Cannes in Todd Haynes’ “Wonderstruck”) play their scenes together with the tacit mutual understanding of two children cast prematurely adrift into adult psychic pain.With the minimalism of the material providing the cleanest of canvases for the matchless technique of director and star alike, “You Were Never Really Here” isn’t the genre crossover effort Ramsay’s admirers may have feared, or possibly even have wished for.
Though there's minimal dialogue, the impressionistic soundscape paired with Jonny Greenwood's pulsating score makes this film feel anything but quiet.- Another: the sound-effect of the gas pump being synced to Joe's ticking watch. Each moment and element is finely-tuned - a mechanism subversion of a genre frequently left to sort through viscera and pain.When I tell you I held my breath and did not release it until the very end of the movie.....honestly, wow. this demands a lot of dedication from the actors, and joaquin absolutely perfects it. I really liked “we need to talk about kevin” and lynne ramsay did it amazing there but dude this has been a waste of time. I felt so close to Joe, like I was in his head the entire time, just looking at everything through him, and that’s what did it for me.It was hard but I put a stop at 99 minutes (constantly updated)about as close to perfect as a film can get, i thinkhonestly a fucking shit. My breathing is speeding up by the second and my fingers keep trembling. Adding an entire closing act to its death-trail narrative, her laconic screenplay also more tenderly exposes the soul of Phoenix’s protagonist Joe: an ex-FBI agent and Gulf War veteran, now making a grim living as a contract killer specializing in the sex-slavery trade.It’s a simple job until, inevitably, it very much isn’t. Yet however complex the network of human and institutional corruption we subsequently stumble upon, such tangled plot mechanics are practically white noise in “You Were Never Really Here,” which is far more actively concerned with the glitchy, tortured headspace of Joe himself, as a worse-than-usual day at the office alternately gives him reasons to die and reasons to live. i wanted to watch this over from the start as soon as it ended.Pretty self-explanatory, "older films" must've come out at least 20 years ago. That Joe starts counting,…I will eventually write something decent on this but right now I can't even read my own head. A Variety and iHeartRadio PodcastLynne Ramsay makes a stunning return with this stark, psychologically raddled hitman thriller, led by a quietly furious Joaquin Phoenix.Arriving six years after “We Need to Talk About Kevin,” and emphatically consigning her unfortunate departure from the production of “Jane Got a Gun” to the recesses of memory, it’s the most contained of her features to date. In a Lynne Ramsay film, even the off-key elements are perfectly chosen; an exquisite, anxious study in damage, “You Were Never Really Here” knows exactly the value of its scars.Those sharp vocal flashes are strikingly muddled with another recurring sonic motif: the steady, zoned-out counting of pre-teen girl Nina (Ekaterina Samsonov), eventually revealed as the object of Joe’s latest murderous rescue mission. you expect to see a change in scenery or a look away from the shot, but instead the sound becomes more visceral and the shots more discomforting.
obviously hacked within an inch of its life but the skeleton is fascinating. Review: You Were Never Really Here is Lynne Ramsay’s dark masterpiece.
Beautiful.Films that demand and reward your patience, relying more…- Joe taking the stairs when he's in control and then, perhaps unconsciously, deciding on the elevator when the whole situation is fucked is such an acute observational detail, and one of many for this movie.My heart doesn't feel like it's there.
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