2017 Directed by Lynne Ramsay
A traumatised veteran, unafraid of violence, tracks down missing girls for a living. When a job spins out of control, Joe's nightmares overtake him as a conspiracy is uncovered leading to what may be his death trip or his awakening.
Joaquin Phoenix Judith Roberts Ekaterina Samsonov John Doman Alex Manette Dante Pereira-Olson Alessandro Nivola Larry Canady Vinicius Damasceno Neo Randall Frank Pando Edward Latham Claire Hsu Denis Ozer Tia-Sophia Begh Lucy Lan Luo Annie Mac-Yang Lilian Tsang Mengqi He Rose De Vera Tian-Lan Chaudhry Ryan Martin Brown Ace Ramsey Silvia Pena Jason Babinsky Jonathan Wilde Ronan Summers Kate Easton Scott Price Show All…
Rebecca O'Brien Sue Bruce Smith Pascal Caucheteux Lizzie Francke Lynne Ramsay Jonathan Ames James Wilson Rose Garnett Rosa Attab Ben Roberts
A Beautiful Day, 너는 정말 여기에 없었다, 유 워 네버 리얼리 히어, Iš tiesų tavęs niekuomet čia nebuvo
fuuuuckkkk yes.
Lynne Ramsay directing Joaquin Phoenix in a *super* art house TAKEN (complete with POINT BLANK stylings) that's glazed with Jonny Greenwood's best score to date. obviously hacked within an inch of its life but the skeleton is fascinating. i wanted to watch this over from the start as soon as it ended.
This is one of those movies that is teeming with dialogue-free shots and scenes that are supposed to invoke ideas that are key to understanding what the director wants to say. About 15 minutes in, I realized this and spent the rest of the film being upset that I wouldn't understand those ideas unless I watched this movie a second time– and probably even then. About 30 minutes in, I started wondering whose review/article about the movie I'd have to read to really figure out how much I liked it.
I feel this too often with movies lately, and find myself being taken out of them because my mind very quickly slips into the meta-level of not just taking in…
Watched at Midtown Art Cinema in Atlanta.
Of course I'm happy I saw this on the big screen but for someone who has a true affinity for genre films, I thought I'd like this alot more. Wish it was more of the RATCATCHER/MOVERN CALLAR Ramsay and less the WE NEED TO TALK ABOUT KEVIN Ramsay.
Really impressed with the cinematography by Thomas Townend, production design by Tim Grimes, editing by Joe Bini and of course the great score by Jonny Greenwood.
A radical deconstruction of the action genre and what we've come to expect from our heroes. Fantasy, flashback and reality are all swirled together, a trauma-saturated past manifesting as shard of glass in the soul. The question of "did that really happen?" has never been less important. Ramsay owns this film, particularly in her writing. Phoenix is good, but it's the absolutely impeccable editing that creates his powerful performance. Though there's minimal dialogue, the impressionistic soundscape paired with Jonny Greenwood's pulsating score makes this film feel anything but quiet.
How can a man save anyone else when he cannot save himself?
Rating: 92/100
Joaquin Phoenix doesn’t make a lot of movies. It’s easy to forget about him when he’s not around. Then he shows up in something and you’re like “Oh right he’s basically the best actor in the world.”
I can't breathe.
My heart doesn't feel like it's there. My breathing is speeding up by the second and my fingers keep trembling. My body hurts, my legs are numb, and I feel like I'm losing my mind.
I've never felt like this before. I've never seen something that makes my body feel different, or something that makes my heart skip a beat. With every moment in this film my eyes began to sob more, and with every second home You Were Never Really Here stayed in my head.
I will eventually write something decent on this but right now I can't even read my own head. I will try. I just need to breathe.
It may not appear so at first glance, but this is a Lynne Ramsay film through and through -- a heart wrenching, hyperviolent addition to her oeuvre of films focusing on the individual's psychological response and post-traumatic path subsequent to their environment's introduction of an unexpected and uncontrollable tragedy. Morvern Callar, We Need to Talk About Kevin, and You Were Never Really Here could almost function as an unofficial trilogy dealing with said theme, exploring lonely, singular minds' reactions to larger, more macro-level issues such as the suicide of a loved one, the parenting of a psychopath and the abduction & exploitation of children. Joaquin Phoenix sinks deep into his role of the enigmatic Joe, a war veteran and former member…
47/100
When people who dislike Taxi Driver describe their understanding of it, this is the film they're actually describing. Schrader acknowledges Travis' military service without ever employing it as an excuse; Ramsay serves up jagged flashbacks at key moments to suggest PTSD. Iris' heartbreaking failure to recognize how she's being exploited complicates the story; Nina barely exists here as anything more than a symbol of innocence defiled. Taxi Driver maintains a queasy tension but withholds violence until the horrific climax; You Were Never Really Here plays like said climax turned into its own feature-length badass exercise. Ramsay's formal expertise makes individual sequences (e.g. the security-cam massacre) thrilling, but the movie as a whole feels utterly hollow, especially when it tries…
<택시 드라이버> 이후로 <레옹>, <아저씨> 등등 성매매로 인한 여성 청소년을 구하는 영화들은 많았지만 이 영화가 그들과 전혀 다른 노선을 걷고 있는 까닭은 정치적 상황 혹은 액션에 치우치지 않고 그저 인물들의 트라우마에만 집중한다는 것이다. 예를들어 이 영화의 액션 장면은 거의 대부분 보여주지 않는다. 후반부 주지사의 경호원을 처리하는 부분은 아예 점프컷으로 나오고, 감시 카메라의 시선으로 구성된 시퀀스는 아예 잔혹함과는 거리가 멀게 만든다. 액션 신들을 날려버린 것 이외에 이 영화와 다른 영화들의 가장 큰 차이점은 소녀를 구하는 것이 구원으로 행하지 않는다는 것이다. 여전히 소녀 니나를 구했음에도 불구하고 조는 자신이 자살하는 환상을 계속 보게된다. 허나 영화는 마지막까지 잔혹하게 나오지는 않는다. 멀리 떠나버린줄만 알았던 니나가 다시 돌아와 날씨가 좋다고 말하는 순간, 조에게는 삶을 다시 시작할 기회를 얻었다. 이것을 구원이라 말하는 사람도 있을지 모르겠지만, 나는 오히려 관계의 시작으로 보고 싶다. 자신을 겁탈하려던 주지사를 죽이고 가족 모두를 잃은 니나와 이제 남은 것 없이 살 의지를 잃은 조 이 둘에게 만남은 구원이 아니라 새로운 시작이다.
wow it's so fantastic. wowowowow. the SOUNDS of this movie man... lol at jonny greenwood's perfect score vs. the interpolation of proto-Creep "the air that i breath" - the hollies
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