‘You Were Never Really Here’ Trailer: Joaquin Phoenix Has His Own Particular Set of Skills

You Were Never Really Here trailer

After a six year break from features, director Lynne Ramsay (We Need to Talk About Kevin) is back with You Were Never Really Here, a film that looks to be a cross between Taken and Taxi Driver. This violent drama debuted at last year’s Cannes Film Festival and earned high praise from those who caught it, and it’s easy to see why: this movie looks like it rules. Check out a new UK trailer for the film below.

You Were Never Really Here trailer

Based on a 2013 novella from Bored to Death creator Jonathan Ames (side note: this movie could not look more different than Bored to Death), the story follows a veteran (Phoenix) who uses his own particular set of skills to find girls who have gone missing. As the violence and intensity ratchets up, things start to spin out of control for him.

If that stylish trailer – with its Taken-esque foray into the sex trade and an overt nod to Robert De Niro’s Travis Bickle during the mirror interaction at the end – isn’t enough to get you fully on board, maybe you’ll be interested to hear from those who have seen the full film already. The Guardian says it “teeters perpetually on the verge of hallucination, with hideous images and horrible moments looming suddenly through the fog,” Vulture says that “visually and stylistically, Ramsay has never been more assured,” and The Film Stage calls it “one of the most ferocious indictments of systematic abuse of power and gender violence ever projected on a screen.”

The movie’s score from Radiohead’s Jonny Greenwood is getting some high praise, too, with Birth.Movies.Death referring to it as “possibly [his] best score to date” and “a real scorcher.” That’s especially impressive, considering Greenwood provided the scores for movies like There Will Be Blood, The Master, and Phantom Thread. Ekaterina SamsonovAlex ManetteJohn Doman, and Judith Roberts co-star.

And if all that somehow still isn’t enough to sway you, Ramsay won the Best Screenplay award and Phoenix won the Best Actor award at Cannes for his haunted, physical performance, so it seems like there’s actually some real meat to this movie beyond just a well-cut trailer.

You Were Never Really Here plays at the Sundance Film Festival later this month (where I’m hoping to catch a screening and report back to you all), and Amazon Studios will release it wider on April 6, 2018.

The post ‘You Were Never Really Here’ Trailer: Joaquin Phoenix Has His Own Particular Set of Skills appeared first on /Film.


Urban Outfitters is being really generous today — as in BOGO 50% off site-wide


Just to let you know, if you buy something featured here, Mashable might earn an affiliate commission.

Drop what you’re doing: everything at Urban Outfitters is buy one get on 50% off today. Oh, and shipping is free on all orders over $ 50. It’s fine, I’m fine, everything is fine.

Urban Outfitters is a favorite for women and men alike, and no matter if your personal style is grunge, chic, sporty, or a little bit of everything, Urban somehow always has something you’ll like. We could drone on about why it’s the best store ever, but we know you want to get straight to shopping — so get going. Read more…

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This Nespresso instant espresso machine is over $80 off today and that’s a really big deal


Just to let you know, if you buy something featured here, Mashable might earn an affiliate commission.

Starbucks is great and all, but does anyone really have time to wait in that line every morning?

Make your own barista-style coffee at home with the Nespresso Inissia Espresso Machine, which is $ 83 off today. Yeah, we’re freaking out too.

The Nespresso Inissia has a patented extraction system that is said to deliver a wild 19 bars of pressure — and, as all espresso enthusiasts know, pressure is what’s needed to extract the best espresso. With the touch of a button and 25 seconds of wait time, the water reaches ideal temperature and can apparently make nine cups of coffee without even having to refill the tank. Read more…

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New Zealand police’s inappropriate tweet is really quite something


Police and memes are often a clumsy mixture at best.

While we’ll admit our appreciation for their animal posts, New Zealand Police have really outdone themselves with an errant tweet on Monday. 

The tweet is titled, “When we have to tell someone their family member has died in a crash,” and it’s accompanied with a GIF of The Office’s Michael Scott saying “This is the worst!” 

It’s pretty bad, unless you’re a fan of gallows humour.

OK, it’s only Monday, but this tweet by NZ Police already takes the booby prize for social media fail of the week. Tone-deafpic.twitter.com/w4xG3NAyPL

— Nik Dirga (@nikdirga) October 9, 2017 Read more…

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Conan invented his own ‘Carpool Karoake’-type segment with Tom Cruise as the first, really uncomfortable guest


Never expect to see Tom Cruise on a late night show again.

The action star went on Conan yesterday in the hopes of doing something like The Late Late Show’s James Corden’s carpool karaoke or Seinfeld’s “Comedians In Cars Getting Coffee,” but Conan surprised him with his own version of car fun — hours of uninterrupted driving.

It’s as cringeworthy as it sounds.

Over the course of the painfully slow 11-minute compilation, which is mostly Conan telling Tom to be quiet so he can concentrate on driving, the late night host convinces Cruise he was in An Officer and a Gentleman, he continues to drive despite the star’s requests for a bathroom stop, and Cruise is lulled into a 45-minute nap. Read more…

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So … what is Jennifer Lawrence’s ‘mother!’ really about?


Warning: Major spoilers for mother! are ahead.

Well, that was something.

Jennifer Lawrence’s mother! has finally arrived in theaters, and the general reaction can be summed up in three letters: WTF?

It’s clear that writer-director Darren Aronofsky is trying to say something with his new work, and that he wants to get people talking about that something. The problem is that no one quite seems able to agree on what that something is. 

Ask 10 people who’ve just seen this movie what they think it’s “really” about, and you might get half a dozen different explanations. I know, because I did just that after seeing mother! for the first time at TIFF. Read more…

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Matt LeBlanc reveals why Joey was really wearing a sling in those ‘Friends’ episodes


Remember that cluster of Friends episodes where Joey had his left arm in a sling? The injury that was supposedly caused by him jumping on the bed?

Well, that was just a cover-up for what really happened. As Matt LeBlanc explains in the Jimmy Kimmel Live clip above, he had to have his arm in a sling because he’d dislocated his shoulder — and he’d done it while filming a previous episode of the show.

Skip to 04:00 for the full story, which involves a fight over a chair and — randomly — an E.R. doctor. Read more…

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How to Write Plot Twists That Really Mess with People’s Heads

Explore the mechanics of a plot twist.

We can all name films with great plot twists—The Usual Suspects, The Sixth Sense, and Fight Club are just a few—but at the same time, we can all name films with ones that are not so great. So, what’s the deal? What kinds of narrative elements are at play in an effective plot twist? In this video, Sage Hyden of Just Write offers up an explanation of how plot twists work to surprise, confound, and even infuriate us, and even provides some key concepts to learn in order to write a few good ones of your own.

In its essence, a plot twist is a “radical change in an expected direction or outcome.” Hyden talks specifically about surprise endings that use anagnorisis, which are definitely one of the most popular types of twists used in cinema, but there are many other ways to construct a good plot twist. Here are some notable examples:

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Reader Question: Are there any script rules that really shouldn’t be broken?

Or this: “How can you break screenwriting rules if there are none?”

From @CaveDude21:

I know all rules are made to be broken, but are there any Script rules that really shouldn’t?

I don’t think there are any rules for screenwriting. There are important principles, and dozens of tips and techniques. There is also a lot of ‘conventional wisdom’ floating around that gets transmogrified into being perceived as rules, and that is where the problem lies.

Stories are organic. Even in a screenplay, which is heavily structured by virtue of it being the blueprint for producing a movie, the underlying story — that universe, its characters, the events that transpire there — all have to feel alive, spontaneous, and native to that narrative environment.

Enter the plethora of screenwriting approaches, theories, paradigms, models, and formulas. While some of them reflect dynamics that are innate to story itself and what people expect when they read or see a story, once they get codified in the minds of writers, a big problem arises: The writer can write to the formula instead of to the story. Hence all the complaints from moviegoers about formulaic movies. And by the way, the complaint exists within Hollywood script development circles, too, as folks there often lament being forced to read one formulaic script after another.

Besides if you give me a supposed screenwriting rule, I am 99% positive I can come up with a movie that breaks it.

Movies have to be told with a linear narrative. Consider Memento, Pulp Fiction, or Betrayal.

Movies have to have a sympathetic Protagonist. Consider Sideways, As Good As It Gets, and Taxi Driver.

Movies always have to have a happy ending. Consider Citizen Kane, Shakespeare in Love, and Manon des Sources.

There are scripts where the screenwriter breaks the 4th wall and ‘talks’ to the script reader [The Last Boy Scout by Shane Black]. There are scripts that have sides of dialogue one page long or longer [Network by Paddy Chayefsky]. I remember reading a script by Justin Zackham [The Bucket List] that was in the 2nd person [“You turn on the light. You open the door.”]

Should we let ‘rules’ restrict our creativity? I should think not!

My advice: Learn the conventional wisdom, what is pretty much the standardized approach to screenwriting. It’s not hard to do, you can go virtually anywhere online and pick up the supposed ‘rules’ in a matter of a few months.

Then write. Experiment. Read scripts. Write some more. You are developing your own voice, your own style, gaining confidence in who you are as a writer.

Then if you develop a story that requires you to break a supposed ‘rule,’ absolutely will make for a better read if you go against convention, do it. You have to be smart, you have to be judicious, and you have to know what you’re doing. Most of all, you have to believe in yourself and in your story. But you should have the freedom to make those choices and dismiss the negative nabobs of negativism [homage to Spiro Agnew there].

That’s it, my only screenwriting semi-rule. As far as the other ‘rules’ go, you have to figure them out on your own, then become your own writer.

My advice: In all cases, story trumps formula, story trumps ‘rules,’ story trumps all.

In other words, the story rules.

What say ye, GITS readers? What’s your take on rules? Feel free to disagree with me. Maybe there are some rules that simply can’t be broken. If so, what would you say they are?

Comment Archive

Reader Question: Are there any script rules that really shouldn’t be broken? was originally published in Go Into The Story on Medium, where people are continuing the conversation by highlighting and responding to this story.

Go Into The Story – Medium

The Cult of Trash: How Do We Explain Our Taste for Really, Really Bad Movies?

You’re tearing us apart, Tommy!

The first time I ever saw the worst film ever made, I was with my brother and two of my cousins. We sat down in my living room in my old basement apartment, pulled up a pirated copy that was streaming on YouTube (because my efforts to buy it off of Amazon were unfruitful), and gazed in amazement while it played on a tiny sub-screen at 1.5x normal speed (typical format for pirated shit).

When the credits began to roll, we all just sat there, silent, awkward, and confused—confused by the absurdity of what we just consumed, but also confused by our genuine non-rejection of it, a non-rejection that quickly grew into full-blown love and then obsession. One of my cousins turned to me and asked, “What the f*** did we just watch?” I was like, “The Room.”

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