You Were Never Really Here (2017) - Lynne Ramsay
Two part review; Fist the film, then the subject mater.
So much talent here but also so much lost opportunity.
This is my first Lynne Ramsay film. I would like to see her
We Need to Talk About Kevin (2011)
Here, she misses a lot of beats, in my opinion.
For one, the shots of the main characters mental degeneration, get progressively distracting. It could be argued that this was the point but I feel they are very sloppily handled.
A more grievous misstep would be the scene where Joaquin and victim
whisper/sing along to, "I've Never Been to Me". Ending with them holding hands.
Fucking Hell! What are you doing, woman! Just let them lie there bloodied, listening. I'm sure the few that would get that reference would have gotten it without the scene becoming comical.
Same with the shirtless corridor wandering at the end. It strayed into unintentional comedy.
On the plus side
the blow-back from the main job, was jarringly unexpected and expertly done.
From that moment in the film, I thought that I might be watching a modern classic.
Alas, no.
The handling of the ending was perhaps one of the more egregious missteps.
The "fake out", was beneath the performance that Mr Phoenix delivered.
By the way, the calibur of acting overall, was very high. Mores the pity.
Make no mistake, this is a slick piece of cinema and well worth watching but I must add that I also feel that the finished product does Joaquin Phoenix no favours at all.
The subject matter; (obviously controversial)
You Were Never Really Here (2017) , is , of course, not the first film to broach this topic;
The Hardcore Life (1979) - Paul Schrader and perhaps to a degree, 8MM (1999) - Joel Schumacher.
Notwithstanding the brave and interesting nod to "elite" organisation and involvement portrayed in You Were Never Really Here, audiences in the main, seem to be oblivious to the "problematic" nature of the victim/saviour dynamic going on here.
When the rescued Nina is recaptured and is being carried off, she looks over at her saviour, reaches out her hand and breathes "Joe". . .
Hmm. Right back into Lolita-land (but this time with the "good guy" . . . . right?) Which is not at all to say that Joaquin's character felt this way.
I guess what I am trying to point out is the Lolita/Father figure dynamic that is (unawaredly?) proffered here.
While not as strong as Léon (1994) - Luc Besson (full cut), it is there nonetheless, make no mistake.
Is the fact that the film is based on a book by Jonathan Ames, significant? That's up to you to decide.
I realized this watching the compilation of endless unfinished projects as the special features of F for Fake: Even a joke or shitty home-movie made by Welles is still far better than 90% of Hollywood dross!
even mean, though?!
Too bad Milou/Snowy didn't had a speaking role. 
