My Own Little World

What a ride. What a dark, depressing, riveting ride. I had very few expectations going into You Were Never Really Here . The story, characters, and aim – all were mysteries to me. After seeing it, I have never been happier that that has been the case. This film is shocking, brutal, and just an overall rough emotional experience. It also tells a story of sex trafficking that is too real to be ignored, and my guess is that is the main point this movie tries to get across. You Were Never Really Here mirrors themes of and comments on some recent events in the news like the #MeToo and Time’s Up movements, focusing on how the rich and powerful can do anything they want to just about anybody – (horrifyingly) including 13-year-old girls. I was almost brought to tears several times in this hour and twenty-five-minute film because I realized how unfortunately realistic this story might be. The film has a great voice behind it in Lynne Ramsay’s direction. She often takes a slower han...

I have loved Aaron Sorkin for a long time. I first encountered his writing with The Social Network and fell in love with it watching The West Wing , The Newsroom , and Moneyball . He has a very unique style with fast, witty dialogue that says a lot in very little time; when combined with the walk-and-talk technique of The West Wing , it becomes an incredibly effective tool. I have never disliked his writing, even though it does get a little soapboxy from time to time. When I heard Sorkin was going to sit in the director’s chair for the first time, I got incredibly excited. I didn’t know what kind of visual style to expect from him, but I did know that the same writing that I fell in love with would be back in full effect. With Molly’s Game , Sorkin proves himself to be a competent but not (yet) adventurous director. There are parts of this film that definitely prove there is a lot of potential, but it’s not fulfilled here. Most of this I see through the film’s length: at two ...

I have to admit that I am not as familiar with Ridley Scott’s filmography as much as I should. I have seen only a handful of his movies, but there has always been an element of risk involved with them. Blade Runner and Alien changed science fiction films forever, while some of his more recent works have seen the revitalization of dead genres like what Gladiator did for Rome-era epics. In his most recent film, the now 80-year-old Scott took a risk of a different kind. All the Money in the World originally starred Kevin Spacey as J. Paul Getty, but after his sexual assault allegations Scott opted to reshoot all of Spacey’s scenes with only a month left until release with his supposed original first choice for the role, Christopher Plummer. They re-edited as they reshot, getting all of Plummer’s scenes filmed in a little over a week. Why am I telling you all of this? It’s for one reason, and only one: there’s little to no evidence of the film’s hectic reshoots in the final ...