You Were Never Really Here

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. (2018-04-09)

I have a great admiration for Joaquin Phoenix as an actor; he always manages to approach his roles in such an unconventional and unique way that it inevitably pulls every viewer deeply into the films in which he appears. That alone made me want to watch this art film, as his presence guarantees a certain level of quality. But I have to admit one thing... he was the main element that kept the film somewhat together; without him, the entire project would have fallen apart like a house of cards. Don’t get me wrong, I can appreciate a high-quality artistic endeavor that breaks away from established norms, but here the creators delivered a bit too much and at the same time, nothing substantial. The story was something I could tolerate, but the film offered almost no tempo or build-up. The only exceptional camerawork I found was the underwater scene, which was a real treat. On the other hand, it’s quite disappointing when only one scene out of an hour and a half captures my attention fully. Plus, I was expecting a more intense conclusion. It’s a shame. I give it 55%. (2019-10-17)

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% (2018-04-11)

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. (2018-03-06)

A straightforward film noir made as an art film, noble and action-free. We are shown bloody massacres only in mediated form or after the hammer has come to rest. The introductory exposition is unnecessarily long, even if it defines the relationship with his mother and the kind-hearted core of Phoenix’s role. The traumas of war (and equally of childhood) are clearer in the synopsis than in the movie itself. Although there’s no shortage of good ideas, it’s just not as hard-hitting as Drive. The acting is awesome, the traumas weighty, the dream sequence surprising, but the finale is just a less entertaining version of Taken with a tubby old guy instead of Neeson. (2018-04-28)