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Lynne Ramsay's You Were Never Really Here

Started by Twit 2, August 29, 2017, 03:04:18 AM

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Twit 2

When's this out then? Got a lot of praise at Cannes, apparently. I really liked WNTTAK and this also has a Greenwood score (plus it's edited by Herzog's guy, Joe Bini). I really haven't heard anything about this except its Wikipedia entry.

hewantstolurkatad

Why would it being by some dude that's edited a bunch of Herzog's recent films (nothing to suggest he's any more than just a solid editor there) warrant mentioning ahead of Joaquin Phoenix being the lead? That's probably gonna be the make or break aspect right there.

Anyways, I don't think Kevin really worked*, but a new Lynne Ramsay film is always something worth checking out and an 85 minute runtime sounds great. Bit concerned about how well Ramsay will pair with something written by Ames but I imagine she'll make it her own.


*I wrote a big rant somewhere here about why recently but I can't find it now

Twit 2

According to Wikipedia reviewers have singled out the editing for praise. But, yeah, fuck editors, cunts.

hewantstolurkatad

Quote from: Twit 2 on September 02, 2017, 01:31:42 PM
According to Wikipedia reviewers have singled out the editing for praise. But, yeah, fuck editors, cunts.
Dude, it was just a weird thing to mention, neither a really impressive young talent nor a particularly heavily acclaimed veteran; it's the guy she worked with on Kevin. If I was criticising anyone its Werner Herzog's last 20 years of good-but-not-great, that saying such and such works with Herzog shouldn't be viewed as much of a positive; as much as I like him I don't think his name alone should carry anywhere near the weight it seems to.
If you can name 10 film editors off the top of your head you're doing better than me (excluding directors who edit their own films), I'd imagine most people wouldn't know any at all past Walter Murch.


If I were to assess Bini's credits, even outside of Herzog he sways heavily towards documentary, the numerous places I've found people praising him for helping on stuff has been documentary focused too. That would all imply a guy whose primary skill is dealing with monstrous loads of film. Ramsay seems the type of Malick-style director who films wayyyy more footage than is needed and figures a lot of the film out on the cutting room floor, so it'd be extremely beneficial to have a super grounded dude who can handle the logistically overwhelming side of things. Likely extremely talented in a way that brings astounding seamless competency whilst leaving the creative flourishes within the editing process to the director.


Small Man Big Horse

Quote from: hewantstolurkatad on August 29, 2017, 02:33:25 PM
Bit concerned about how well Ramsay will pair with something written by Ames but I imagine she'll make it her own.

This is quite unlike Ames' normal writing (which I love a great deal) and a pretty straight hard boiled noir so I think it'll work.

itsfredtitmus

can she go back to ripping on tarkovsky / ken loach please

Twit 2

Not sure I get you - do you mean that as a positive (riffing) or a negative (criticising)?

Ratcatcher is very Loachy and she cites Tarkovsky as an influence on all her stuff.


amputeeporn

Just read the book of this - hopefully will be able to catch the film at the cinema but have a hectic couple of weeks coming up.

The book's so so short. Less than a hundred pages and absolutely no style or flourish involved (this seems very much intentional). I'm thinking the film must be very well made and perhaps insert a redemptive quality not present in the text because the kinds of people reviewing it ecstatically in the current climate might baulk at the book itself.

I heard Ames interviewed saying he really liked airport thrillers (Lee Child etc) and just wanted to see if he could do that. It's that kind of writing but boiled down to the absolute essentials and a very propulsive plot. Intrigued to see how it's been adapted.

Twit 2

Interesting. It seems she's very much gone for mood/psychology; it won't be a conventional thriller by any means.

Sebastian Cobb

i boiught a ticket for this but forgot it was on. probably would've missed the start as i was seeing working girl in an abandoned office block.

the fillum like, not a brass.

zomgmouse


Twit 2

#13
Off to see this tonight. Can't remember wanting to see a film this much for years.

This is good if you haven't already seen it:

https://youtu.be/KjY9kf7TuUU

Kermode loved it, if that means anything.

itsfredtitmus

Is it just me or are video essays unwatchable?

popcorn

Quote from: itsfredtitmus on March 09, 2018, 10:50:56 PM
Is it just me or are video essays unwatchable?

Just you. They're very good at essaying videos.

Twit 2

#16
Quote from: itsfredtitmus on March 09, 2018, 10:50:56 PM
Is it just me or are video essays unwatchable?

Heh, yes I can only take them in small doses. Every Frame is hugely smug, but he mostly knows what he's jabbering out.

lipsink

I loved this film. If i only watch Lynne Ramsay and Paul Thomas Anderson films for the rest of my life I'll be happy.

willy crossit

Loved it, haven't come out of the cinema feeling like that since under the skin

Soundtrack was fantastic as well

Twit 2

It was great, but most of the cinema I was in (Picturehouse - the worst audiences there are, attracts awful twats like a beacon) didn't like it judging by the comments as people rushed out the second the credits came up. The woman next to me sighed a lot through it. This kind of cinema really isn't for everyone.

Phoenix is fucking incredible in this. Another (literally) banging Greenwood score. The sound design was out of this world. Proper cinema, like.

Z

Quote from: lipsink on March 10, 2018, 11:49:09 PM
I loved this film. If i only watch Lynne Ramsay and Paul Thomas Anderson films for the rest of my life I'll be happy.
Probably got about 10-15 films let to look forward to then


Wasn't too big a fan of We Need to Talk About Kevin but I've very high expectations for her pairing up with Pheonix. Probably won't get to see it until next week though

Sebastian Cobb

I could see it was well edited but my brain was half asleep and looking at the plot afterwards on wikipedia I missed a lot. I'll need to watch it again at some point, I reckon.

marquis_de_sad

I liked it a lot, and I'm another person who didn't enjoy Kevin.


Wet Blanket

I liked individual elements but it seemed a bit wilfully abstruse. I think I've spent so much of my life watching enigmatic art-house thrillers that I can't enjoy them anymore, they just remind me of other films. This one reminded me of The Limey and Point Blank, with a bit of Insomnia and that Maniac remake. Didn't think much of the Michael Mannish, retro 80s score that they've all had since Drive (surprised to discover this was by Johnny Greenwood).

Looked lovely though. I'd skipped Kevin after hating the book, but if that's a similarly loose adaptation I'd be interested to see it.

Schnapple

Yes, loved this, a genuinely taut thriller. However, like S Cobb above, my brain's had a busy day and a few of the plot points require your full attention, so will go again. The CCTV and river sequences were phenomenal.

Sin Agog

It always unnerves me when the only screening I can find for a film like this is at noon.  It just feels wrong exiting a demi-monde of bludgeoned nonces to bright, glaring daylight.

Icehaven

Quote from: Sebastian Cobb on March 18, 2018, 08:27:55 PM
I could see it was well edited but my brain was half asleep and looking at the plot afterwards on wikipedia I missed a lot. I'll need to watch it again at some point, I reckon.

I thought I'd either missed some plot or the torrent had bits missing so I checked Wikipedia, but I/it hadn't. I guess that's what's meant by 'taut'.

rasta-spouse

I really liked the first half and its directorial style. But I felt that same style actually burdened the 2nd half of the film and got in the way. And I'm speaking as a big fan of early Ramsay.

Also the whole "damaged guy who at the end summons all his specialist skills to mow through an acre of bad guys" is quite played now. I mean, it's been a thing since Taxi Driver but I think in our current era there's quite a high concentration of it.

Sin Agog

I think the point was to take an over-worked genre- those Parker books, man with one last mission, revenge thrillers, Joe Don Baker and Charles Bronson movies- and Throbbing Gristle it tae fuck.  It's always at least interesting when arthouse loonie tunes attempt to go to town on a genre.  That's how mixed-race bastard love children like Hausu are introduced to the world.