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Title : Oozham
Oozham genre : Drama, Action, Thriller
Oozham crew : Jeethu Joseph, Jeethu Joseph, Santhosh Varma, K. G. George, Anil Johnson, Shamdat Sainudeen, Ayoob Khan, Sabu Ram, Anto Padinjarekkara, Amit Kumaren
Oozham release date : 17 December 19 6 1
Oozham runtime : 140 Minutes
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Title : Teen Spirit
Teen Spirit genre : Music, Drama
Teen Spirit crew : Max Minghella, Max Minghella, Kave Quinn, Julie Harkin, Marius De Vries, Kate Guyan, Autumn Durald, Mirren Gordon-Crozier, Cam McLauchlin, Tom Coates
Teen Spirit release date : 18 April 19 2 3
Teen Spirit runtime : 92 Minutes
Teen Spirit Crew : Max Minghella, Max Minghella, Kave Quinn, Julie Harkin, Marius De Vries, Kate Guyan, Autumn Durald, Mirren Gordon-Crozier, Cam McLauchlin, Tom Coates
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A Quiet Place genre : Horror, Drama, Science Fiction
A Quiet Place crew : Michael Bay, Marco Beltrami, Celia D. Costas, Christopher Tellefsen, Heather Loeffler, Jeffrey Beecroft, Jeffrey Beecroft, Roger Barton, Laura Rosenthal, John Krasinski
A Quiet Place release date : 29 June 19 4 5
A Quiet Place runtime : 91 Minutes
A Quiet Place Crew : Michael Bay, Marco Beltrami, Celia D. Costas, Christopher Tellefsen, Heather Loeffler, Jeffrey Beecroft, Jeffrey Beecroft, Roger Barton, Laura Rosenthal, John Krasinski
A Quiet Place cast :
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A family is forced to live in silence while hiding from creatures that hunt by sound. A Quiet Place 2018 review : This review contains **spoilers**.
So let’s First get this out of The way I’ve never been more frustrated, by people eating popcorn, fidgeting, & Coming in late.

Anyways form the very start I had so many questions, how’d they get here? Where’d the Monster come from? Etc. And by the end I have no answers and even more questions. Are they gonna survive and kill all the Monsters? Is everyone else dead? Why’d they think to have a baby? But that doesn’t matter.

We’re just tossed into this situation with no explanation to almost anything. The only things we really know is of course making lond sounds means you’re likely gonna die. And High Pitch Sounds Hurts the Monster.

Wish is a smart Choice and come to think of it is kinda obvious, maybe a little too obvious. Like how’d they never think about that? Either way.

A quick note for surviving other then the soundproofing here and there. Why not have a sound bomb of sorts, you could just throw? That would have toldy saved the Dad from having to sacrifice him self.

That isn’t to say they’re stupid they had many Smart decisions such a The sand paths, the box for the baby (wish was kinda sad), the little sound proof room, the Radio, and the fireworks. And that’s just the sound related stuff the Lights and Fires Where also Smart.

Otherwise the cast give us some incredible performances and lots of good chemistry. It probably helps that John and Emily are a real couple. Speaking of wich John Krasinski has Written and Directed a very clever and suspenseful horror film. I’ve never been more scared of corn in my life. Also had jumped at water.

And the sound department specifically the Foley Artist have never shined greater in any film I have ever seen before. The sound is a way flipped from most horror films as it’s when the music drops and everything goes quiet that the Monster attacks. But not in this case everytime the Monster comes it’s a big moment.

Although I have nothing against a R rating. In fact I’m somethimes more likely to see a film because of a R rating, it shows they have gus and they are willing to take a risk. F*ck you MPAA!!!

Anyways some times all kinds of unnecessary crap is put in a Film because they like oh yeah we’re rated R. Although that’s not always needed this Film proves a well done PG-13 can still be dark and brutal. Killing a Child with in the first 10ish minuets, is a little dark. Although come on that kid had it Coming as soon as he grab those batteries. there’s almost a bit of blood maybe the MPAA is pulling back on some things. Probably not those F*ck you MPAA!!!

Ok sorry my review is getting to become rated R. 😆

Also I wanted to note for whatever reason I enjoy films where I can count the entire cast.

Along side Get Out it seems people form comedy make better Horror film Directors then most Horror film Directors. It definitely makes sense though it’s all about that timing.


In Short It was a gripping film from start to finish. I’d highly recommend to all Horror and Thriller Fans. Although because of spoilers in this review you probably already saw it.


So leave a comment and let’s discuss.

No likes
**_No important spoilers here_**

In a **dystopic future**, the humanity has been severely smitten by strange blind creatures that feast on living flesh, both human and animal. In spite of being blind, the creatures have a super hearing and can identify sounds from far away. The creatures are nearly indestructible and very effective killers, and once they hear you, you are most likely dead.

The movie follows a surviving family trying to keep alive in this harsh reality. The movie setup is incredibly well-built to transpire the precaution, the constant fear, and the direful consequences of an unthought action in this terrible future. **The sound effects are awesome**, and the director can successfully use the nearly-constant silence in contrast to the hassle of being followed by those creatures.

The **acting is solid** and helps to immerse the watcher in the well-built plot.

My only regret for this movie is that it ends during a climax, when we are not ready to stop watching it yet. **It could be 30 minutes longer** to explain some missing points and to show what happens after the ending.

Overall, **an awesome movie**, well-thought and beautifully produced in every aspect.
Every time a horror movie does something that I've never seen before, that gets me very excited. _A Quiet Place_ is such a movie. I do believe that maybe _A Quiet Place_ doesn't **quite** deserve the praise that it has received. Not that it isn't a good movie, just that said acclaims have been **so** high, to the point that I think maybe just the fact that it's original isn't enough to earn those laurels.

I still am a fan of the movie, hardline, absolutely, just maybe a little underwhelmed given the reviews.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
This is far and away one of the best movies I have ever watched, and I've watched a lot of movies! The story is original, no small feat these days, and the acting is just outstanding! John Krasinski and Emily Blunt, along with the children, bring these characters to life, and make us really care, all without the benefit of well written dialogue. That's not easy to do, but they do it. Right from the start, you find yourself drawn into the lives of these people, and can feel the tension, the undercurrent of threat, that they live with every day. Through all they face, we are also given a picture of a solid family, with a dad and mom doing everything possible to care for their children, the family praying together, holding onto faith even under the most difficult of circumstances, and that family dynamic really strengthens the entire story. Who do you rely on when all is changed? When everything goes wrong? Family. Along with the acting, the direction, sets, just everything, come together to deliver a truly scary movie, that doesn't rely on flash to terrify you. Highly recommend this one. We saw it in the theater, and bought it as soon as it hit the stores. Top notch work.
This film is terrible. How this pathetic excuse for entertainment has any rating is a mystery. It's an insult to art of film making and to the people who love cinema. Nobody in their right mind would suggest watching this hole ridden, ham acted, utter nonsense themed non-story movie to anybody. Save yourself the hassle, trust me, it's bad.
_**Decent horror flick, but the family members make too many exasperating blunders**_

A family tries to survive on their farm in rural New York while blind indestructible creatures prowl the landscape. The creatures find prey based on sound so they have to be careful to be quiet at all times. Emily Blunt plays the pregnant mother and John Krasinski her husband (Krasinski also directs).

“A Quiet Place” (2018) is a well-made horror flick that brings to mind “Signs” (2002) with ferocious creatures that mix the xenomorphs of “Alien/Aliens” with the extraterrestrials of “War of the Worlds” (2005). They’re basically a knock-off of the monster in “Cloverfield” (2008), albeit the smaller size of the creatures in those previous flicks.

While this movie gets a lot of praise in some circles, the constant mistakes of the family members gets frustrating and tiresome. I love the tone, however, as well as Emily Blunt and the sumptuous Hudson River-area locations.

The film runs 1 hour, 30 minutes, and was shot in the state of New York, about 50-65 miles north of the Big Apple (Beacon, Pawling & New Paltz), except for Little Falls, which is another 110 miles northwest.

GRADE: C+/B-

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Title : Can You Ever Forgive Me?
Can You Ever Forgive Me? genre : Drama, Crime, Comedy
Can You Ever Forgive Me? crew : Kelley Cribben, Anne McCabe, Arjun Bhasin, Bob Balaban, Robert Hein, Tony Martinez, Pamela Hirsch, Pamela Hirsch, Anne Carey, Sarah E. McMillan
Can You Ever Forgive Me? release date : 29 June 19 4 4
Can You Ever Forgive Me? runtime : 107 Minutes
Can You Ever Forgive Me? Crew : Kelley Cribben, Anne McCabe, Arjun Bhasin, Bob Balaban, Robert Hein, Tony Martinez, Pamela Hirsch, Pamela Hirsch, Anne Carey, Sarah E. McMillan
Can You Ever Forgive Me? movie cast :
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When a bestselling celebrity biographer is no longer able to get published because she has fallen out of step with current tastes, she turns her art form to deception. Can You Ever Forgive Me? 2018 review : Lee Israel was selfish, cold, sad, and disreputable. She was also really fun to know. Sookie nails this one.
Mad props to Melissa McCarthy for turning it around with this after _Happytime Murders_ and _Life of the Party_. Actually after basically every single thing I've seen her in up until this point. I honestly can't think of a single role I've liked her in. Until Lee Israel of course, because as her, in this, McCarthy is great.

Respect for Richard E. Grant in the supporting role as well.

It took me a little while after I'd finished watching _Can You Ever Forgive Me?_ to realise I liked it as much as I did, but I did.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
**_Unexpectedly emotional, with a towering central performance_**

> _I had never known anything but up in my career, had never received even one of those formatted no-thank-you slips that successful writers look back upon with triumphant jocularity. And I regarded with pity and disdain the short-sleeved wage slaves who worked in offices. I had no reason to believe life would get anything but better. I had had no experience failing_.

- Lee Israel; _Can You Ever Forgive Me?: Memoirs of a Literary Forger_ (2008)

Directed by Marielle Heller, with a screenplay by Nicole Holofcener (who was originally attached to direct) and Jeff Whitty, _Can You Ever Forgive Me?_ is based on Lee Israel's 2008 memoir, _Can You Ever Forgive Me?: Memoirs of a Literary Forger_. Taking the form of a buddy crime caper in which two mismatched rogues are thrown together by circumstances and set out to stick it to a system, if you strip away the easily-digestible/easily-marketable surface, you'll find that _Can You Ever Forgive Me?_ is a surprisingly moving study of loneliness.

Funny in places, the film is very much anchored by its two leads - Melissa McCarthy as Israel herself, a broke unemployed 51-year-old lesbian alcoholic who is pouring her time and energy into a book no one wants to read, and is unable to even pay her beloved cat's vet fees; and Richard E. Grant as her (fictional) friend Jack Hock, a promiscuous homeless homosexual junkie. On paper, these are not the kind of people you'd want to spend time with, nor the kind of people you'd expect to care about. But Holofcener and Whitty's script is so good, Heller's direction so subtle, and the performances so nuanced and layered that you do come to care for them. Rather deeply in fact. Indeed, there's a scene about three-quarters of the way through the film that's one of the most devastatingly succinct depictions of utter heartbreak and physically manifested grief that I can recall seeing on screen. The film is presented in such a way as to show us that behind the acerbic façade these two people have constructed for themselves, they are vulnerable, lonely, and scared, and although neither would admit it, they are both crying out for meaningful human companionship. There's a lot of pathos in that, and Heller makes sure to mine every single bit of it in what is an unexpectedly exceptional film.

Set in New York in 1991 against the backdrop of the AIDS epidemic, the film tells the story of Lee Israel (McCarthy). Once a celebrated biographer, her books _Miss Tallulah Bankhead_ (1972) and _Kilgallen: An Intimate Biography of Dorothy Kilgallen_ (1980) were both well received, with Kilgallen placing on _The New York Times_ Best Seller list. However, her 1985 book, _Estée Lauder: Beyond the Magic_, was a critical and commercial failure, and she is subsequently unable to generate interest in a proposed biography of Fanny Brice. By 1991, finding herself out of touch with the current literary vogue of prolific and trashy celebratory authors such as Tom Clancy, she has become so irrelevant that her agent, Marjorie (Jane Curtin), is reluctant to return her calls, ultimately telling her she should find another line of work. Financially crippled, Israel is unable even to afford the vet bill for her beloved cat, Jersey, and so she begins to sell her belongings, including a letter from Katharine Hepburn. Whilst continuing to research her Brice biography, she happens upon an original letter from Brice folded in a book. Taking it to a local book-seller, Anna (Dolly Wells), Israel is told that the more interesting the contents of a letter, the more it will sell for. With this in mind, she begins to forge and sell letters by deceased celebrities such as Edna Ferber, Dorothy Parker, Ernest Hemingway, Noël Coward, Marlene Dietrich, Lillian Hellman, and Louise Brooks, ensuring they contain intimate details so as to command a higher price. Meanwhile, Israel develops a friendship with Jack Hock (Grant), who is eventually pulled into her scheme. However, when the forgeries are discovered and the FBI become involved, both Israel and Jack find themselves in over their heads.

The film was originally announced in April 2015, with Julianne Moore as Israel, and Nicole Holofcener (_Friends With Money_; _Please Give_; _Enough Said_), set to direct from her own script. In May, Chris O'Dowd was cast as Jack. However, in July, Moore dropped out due to "creative differences", and was soon followed by Holofcener and O'Dowd. In May 2016, Melissa McCarthy was cast as Israel, with Marielle Heller (_The Diary of a Teenage Girl_), directing from playwright Jeff Whitty's (_Avenue Q_; _Head Over Heels_) rewrite of Holofcener's original script. The phrase "_can you ever forgive me_", which is also the title of Israel's memoirs, is taken from a line Israel used in a forged letter from Dorothy Parker. The real Israel began writing in the 1960s for _The New York Times_ and _Soap Opera Digest_. In 1967, she wrote a piece on Katharine Hepburn shortly after the death of Spencer Tracy that was published in _Esquire_. In 1972, she published _Miss Tallulah Bankhead_, and in 1980, _Kilgallen: An Intimate Biography of Dorothy Kilgallen_, which made it onto _The New York Times_ Best Seller list.

In 1983, Macmillan paid her an advance to begin a warts-and-all Estée Lauder biography. Lauder herself tried to block the biography, with Israel claiming that Lauder repeatedly offered to pay her off to stop writing. When Israel refused, Lauder began writing her own memoirs. Both were published in 1985, but Israel's was critically thrashed and a commercial failure. Israel later wrote,

> _instead of taking a great deal of money from a woman rich as Oprah, I published a bad, unimportant book, rushed out in months to beat hers to market._

With the failure of the book, Israel's career went into rapid decline, and she was soon on food stamps (which isn't shown in the film). Upon beginning her letter scam, Israel went to extraordinary lengths to make her forgeries difficult to detect - she obtained old typewriters appropriate to the era in which the letters were supposedly written, with each typewriter assigned to a different person; in order to match the paper to that used in real letters, she would tear out blank pages from the back of contemporaneous periodical journals, or, when that wasn't an option, she would bake paper to age it; she read real letters from her subjects to better ensure that the cadence of her forgeries was appropriate; she would trace over signatures by placing pages on an upturned TV. According to Israel, she either altered, forged, or stole over 400 letters in total.

Fundamentally, _Can You Ever Forgive Me?_ is not about Israel's scam; it's about two exceptionally flawed people. Just as she did in her debut feature, Heller presents fully dimensional portraits of such people within the larger framework of a vibrantly realised milieu; in _Diary of a Teenage Girl_, it was the sexual liberation of San Francisco in the 1970s, whereas here it's the AIDS epidemic of New York in the 1980s/1990s. However, just as _Diary_ was not about an epoch, but about a specific person within it, such is the case in _Forgive_, where AIDS is always present, but rarely foregrounded; it's the backdrop of the story, not the subject. Credit must also be given to Holofcener and Whitty's script, which vividly represents some extremely unpleasant aspects of Israel and Jack's loneliness (Israel's apartment, for example, is infested with flies, which isn't the most subtle metaphor of all time, but it is effective). In this sense, the film fits very much into Holofcener's _oeuvre_, and it would have been very interesting to see what she'd have done with the material had she remained on as director.

Cut off from virtually all human contact, grouchy and bitter, Israel only ever seems at ease when buried in research or lying in bed with Jersey. However, in contradistinction to most narratives about this type of acerbic personality (think films as varied as Peter Berg's _Hancock_ or Alexander Payne's _Nebraska_), there's no real attempt to humanise or redeem Israel, and even when the story reaches its emotional apex, there's no real sense of the moment being instructive or a watershed. Even when she goes on a date, she is afforded very little humanity, as she purposely sabotages the encounter moments after realising she is beginning to open up, as if she's ashamed of herself for showing vulnerability. Indeed, in practical terms, Israel has very little arc; she's a little softer at the end, but not much (in her final scene she laughs about being in a bar when she's supposed to be at an AA meeting, and jokes about tripping up an AIDS patient with a crutch). Furthermore, the film never excuses her crimes. It does rationalise why she started forging letters, but it never celebrates or condones her activities.

Absolutely committing to her performance, Melissa McCarthy completely immerses herself in Israel, in what is easily her best role to date. Helped in no small part by the frumpy costume design by Arjun Bhasin (_Life of Pi_; _Love is Strange_) and the less-than-flattering hairstyling by Linda D. Flowers (_Captain America: The First Avenger_; _The Hunger Games_; _Furious 7_), Israel seems organically fused to the production design of Stephen H. Carter (_The Bourne Legacy_; _Birdman or (The Unexpected Virtue of Ignorance)_; _Spotlight_), with her world one of dirty browns, dark beiges, and neutralising greys. Both the film and McCarthy lean into the fact that Israel is such a contentious, contrary, and unlikable individual. In an early scene at a party, for example, Israel steals toilet rolls, some shrimp, and someone's jacket. At one point, an exacerbated Marjorie tells her, "_you have destroyed every bridge I have built for you_", explaining, "_either become a nicer person or make a name for yourself. As an unknown, you can't be such a bitch._"

However, what makes the performance so good is that no matter how cruel Israel is, no matter how irreverent and combative, her loneliness is always there to see, making it difficult to dislike her as much as we should. McCarthy touches on everything from friendship to creative insecurity to heartbreak, so as easy as it is to view her antagonistically, it's almost impossible to really condemn her. Yes, her exterior is prickly and calloused, but it serves to cover up not insignificant pain. Yes, she can be unjustifiably misanthropic, but she's also extremely vulnerable. McCarthy plays Israel as her own worst enemy, a deeply sad woman, whose acerbity is both a cause and a result of her situation. Where the performance really excels is in the subtle ways McCarthy shows us Israel's buried humanity, demonstrating how much she craves companionship – we see it in how she is when alone with Jersey, we see it in how she gravitates towards Jack, we see it in the early parts of her date with Anne, we see it in a brief scene when she meets up with her ex, Elaine (Anna Deavere Smith).

McCarthy is perfectly matched by Richard E. Grant, who plays Jack as a rouge's rouge, difficult to pin down (when Lee asks him what he does, he replies, "_oh, this and that. Mainly that_"), a mischievous shark-ish smile permanently on his face, never one to let minor things like homelessness or drug addiction get him down. Their chemistry is perfectly modulated, and their scenes together (which take up about half of the film) are so well written and performed, so hilariously denigrating and quick-witted, you'd be happy to sit there watching them all day. Like McCarthy, Grant is well aware of Jack's flaws, and like McCarthy, he emphasises them rather hides them. Jack actually has a more conventional arc than Israel, and two scenes in particular really push the audience's ability to view him sympathetically. Whilst Israel remains on a relatively even keel throughout, with her worst characteristics on display from the get-go, Jack's core is revealed more slowly, and towards the end of the film, his choices show his character in a different, and not especially flattering, light. With this in mind, it's a testament to Grant's performance that Jack remains so demonstrably human throughout.

One of the most interesting aspects of the film is the pride that Israel takes in what she is doing. Yes, it's criminal, but she takes the work very seriously and is proud of the results. In her book, Israel argued that the forged letters were the best work of her career, far surpassing her three biographies, proudly claiming, "_I'm a better Dorothy Parker than Dorothy Parker_". When Jack mentions what she's doing is not dissimilar to the _Hitler Diaries_, she momentarily beams with pride. At a later point, when Jack expresses disdain for the importance of the forgeries, Israel chastises him, telling him the letters are "_a portal into a better time and a better place when people still respected the written word_", following this up with the curt, "_respect what you're selling_". She may be a criminal, but she has reverence for what she does.

In reality, Israel had struggled for decades to find her place in New York's literary scene, unsuccessfully (of course, it didn't help that she despised everyone in the industry). She had spent the 1970s and 1980s writing biographies, but by the early 90s, the scene had changed, and she had failed to change with it. Who can blame Marjorie for not being especially interested in a biography of Fanny Brice when she has someone like Tom Clancy as a client? Sure, he's a hack who churns out variations on the same story over and over again (think a slightly more talented Dan Brown), but his books sell millions, whereas Israel's most recent work was marked down by 75% only weeks after going on sale. Indeed, the film takes a particularly funny swipe at Clancy (although he's never mentioned in the memoirs). He is shown at a party (played by Kevin Carolan), wearing the most pretentious polo-neck I've ever seen, and conceitedly telling a group of hangers-on,

> _writer's block is a term invented by the writing community to justify their laziness. My success is nothing more than that I have the dedication and stamina to sit and get the work done._

Of course, the fact that Israel's forgeries proved so successful highlighted two extremes of her ability; yes, she could be genuinely creative, but only when imitating someone else's voice. This is why she was such a good biographer - apart from being a diligent researcher, the most important skill for a biographer is the ability to place the reader in the head of the subject, i.e. to imitate them. The letters proved that Israel could do this with unparalleled success (much to her amusement, two of the letters she forged from Coward were actually published in the first imprint of Barry Day's 2007 book, _The Letters of Noël Coward_, although they were removed for the second printing). They also demonstrated that she had a keen and caustic literary wit, although it was a talent of which she unsure what to do for most of her life. Interestingly, in the book, Israel says she was uncomfortable with the fact that due to increased scrutiny on the part of buyers, she had to start stealing real letters from archives, replacing them with forgeries, and then selling the originals. Not only does outright theft violate the sanctity of the written word which she holds so dear, but, perhaps more importantly, the creative element of her work was now lost - all she was doing was copying from one page to another. Indeed, when the film depicts this phase of her forgeries, it does so dispassionately, void of the sense of fun which had been very apparent up to this point.

Aesthetically, the film is gorgeous in how drab it looks. I've seen numerous critics talk about how evocative it is of a New York that's long since gone, and, having never been to New York, I'll have to take their word for it, but I'll certainly agree it exudes an evocative sense of place, reminding me of something like the New York of Spike Lee's _25th Hour_ (2002) or the Tokyo of Sofia Coppola's _Lost in Translation_ (2003). I've already mentioned the production design, wardrobe, and hair, but equally as impressive is the cinematography by Brandon Trost (_Crank: High Voltage_; _Popstar: Never Stop Never Stopping_; _The Disaster Artist_). It's rare that you see a film where it doesn't just look cold, it literally feels cold, as if the weather has somehow gotten into the texture of the celluloid. This damp and dreary New York is a million miles from the more romantic depictions of the city we're so used to seeing. It's a place where people still smoke in bars and workplaces and do cocaine in public toilets, where there are warm, cosy bookshops on every street corner. Again, I can't attest to this myself, but I'm told the venerable old-school New York bookshop is, sadly, a dying breed, an analogue institution in an increasingly digital world. The point is, the world of the film feels lived in; from Israel's horrific apartment with its cat faeces and fly infestation, to the bookshops, to the gay bars she and Jack frequent - everything feels like it was just filmed as is, without an art department finessing it, even extending to the props, which prove so important once Israel has acquired multiple typewriters.

It's rare I write a review in which I legitimately struggle for something to criticise, but this is such a review. Aside from Israel lacking an arc (which I personally don't see as a problem, but some definitely will), the only other thing I would bring up concerns the tone of the story, which remains detached, and which some will probably find too impersonal. I guess some people might find the story a bit dull as well.

This is a film about fundamentally broken people trying to put themselves back together, about people on the edge trying to chart a course to the centre, about scavengers trying to find something life-changing in the wreckage. It asks the question (although never explicitly) how such a talented writer as Israel could have gone unnoticed and ended up as she did. With the industry what it is today, this is an even more pertinent question than it was in 1991 (or 2001. Or 2011 for that matter). What is on the surface (and what is being marketed as) a caper dramedy is, in fact, a much deeper and more observant study of human frailties and failings, a paean to the importance of friendship, and (cliché alert) the importance of love (even if it's only of the feline variety). Melissa McCarthy gives a monumental performance in a role that, in any other year, would have made her a favourite for Best Actress. This year, she's competing against Olivia Colman for her performance in Yorgos Lanthimos's _The Favourite_, which means she hasn't a hope in hell of winning. However, hopefully, this will lead to more dramatic roles down the line. She certainly deserves them.

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Title : You Were Never Really Here
You Were Never Really Here genre : Thriller, Drama
You Were Never Really Here crew : Billy Hopkins, Joe Bini, Rebecca O'Brien, Sue Bruce Smith, Pascal Caucheteux, Tim Grimes, Gene Harrison, Lizzie Francke, Jonny Greenwood, Lynne Ramsay
You Were Never Really Here release date : 1 May 19 6 9
You Were Never Really Here runtime : 89 Minutes
You Were Never Really Here Crew : Billy Hopkins, Joe Bini, Rebecca O'Brien, Sue Bruce Smith, Pascal Caucheteux, Tim Grimes, Gene Harrison, Lizzie Francke, Jonny Greenwood, Lynne Ramsay
You Were Never Really Here movie cast :
Joaquin Phoenix, Judith Roberts, Ekaterina Samsonov, John Doman, Alex Manette, Dante Pereira-Olson, Alessandro Nivola, Larry Canady, Vinicius Damasceno, Neo Randall
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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. You Were Never Really Here 2017 review : The way this movie was hyped up in the press about it being the Next ‘Taxi Driver’obviously raised my expectations and Phoenix being the Antihero ah-la Travis Brickle .

Well, did I get letdown like a disappointed kid at Xmas when he didn’t get what he expected.

If Phoenix won best actor at the Sundance Festival for his performance in this film.

Then I’m decidedly in the wrong profession. He had a one dimensional character, very dark and not much else to him.

The hammer being the ‘DIY’ tool of choice , which you never actually see it nailing anything.

And there’s no real curiosity or imagination attached to the extent of him using the ‘hammer’.

If you haven’t seen ‘The Professional’
With Natalie Portman and Luc Besson and Gary Oldman as a real lunatic cop.
Then do yourself a favor and rather watch it.

I was largely disappointed in this film and it doesn’t live up to anything it’s primed to.

Not Memorable.
I did not feel as positively about _You Were Never Really Here_ as most people seem to have, but I **do** absolutely recommend it. One of Jaoquin Phoenix's best roles, and that is about as far from small praise as it gets.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._

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