You Were Never Really Here

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. (28/04/2018)

I didn't even get a chance to take a proper breath and the whole thing was over. This doesn't happen to me very often when watching movies, so despite some confusion in the narrative, I am extremely satisfied with it. Joaquin Phoenix takes on the role of a war veteran as if he had never played anyone else, and yet he has played so many diverse roles that few actors can boast of. He deservedly picked up some awards for his mesmerizing performance in this psychological thriller. For most of the time, I pondered the reason behind his actions and deeds, while my mind was constantly haunted by the highly unsettling music accompanied by nerve-wracking noises. I was very impressed by the visual sequences that complete the captivating atmosphere, which will probably remain in my memory for a long time. It will surely include the almost ritual burial of the mother in the lake depths. Even though there wasn't a full showdown at the very end, I wasn't disappointed because I wasn't really expecting anything like that. I gratefully acknowledge that, like the protagonist, everyone has to chew it over in their heads. And if you don't, a few blows with a hammer will certainly fix it. (80%) (08/06/2020)

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. (06/03/2018)

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% (11/04/2018)

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. (09/04/2018)