“復讐を、手にしたふたり”
男は元軍人。依頼は拉致された少女の救出。だが、何かがおかしい?? 元軍人のジョーは行方不明者の捜索を請け負うスペシャリスト。ある時、彼の元に舞い込んできた依頼は、いつもと何かが違っていた。依頼主は州上院議員。愛用のハンマーを使い、ある組織に囚われた議員の娘・ニーナを救い出すが、彼女はあらゆる感情が欠落しているかのように無反応なままだ。そして二人はニュースで、依頼主である父親が飛び降り自殺したことを知る──。
映画化された原作や関連書籍を読んで、映像との違いや独自の世界観を楽しみましょう。
製作費: $17,000,000 (26億円)
興行収入: $9,400,000 (14億円)
推定収支: $-7,600,000 (-11億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: Lynne Ramsay
脚本: Jonathan Ames / Lynne Ramsay
音楽: ジョニー・グリーンウッド
制作: Rosa Attab / パスカル・コシュトゥー / ローズ・ガーネット
撮影監督: Thomas Townend
制作会社: Why Not Productions / Film4 Productions / Sixteen Films
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._
There weren’t a lot of lines for Joaquin Phoenix to learn for this gritty and brutal story of “Joe”. He makes a living retrieving girls who have gone missing - voluntarily or otherwise, and repatriating them. Occasionally this happens straightforwardly, but more frequently this is a violent and dangerous business that sees him having to fend off people both in and out of uniform. It’s this latest job to rescue “Nina” (Ekaterina Samsonov) that is proving to be his most testing and as he struggles to rescue his quarry from a short-lived career in sexploitation, and stay in one piece, he is suddenly immersed in reminiscences of his own turbulent childhood. With his adrenalin all that is keeping him going, might this operation be his undoing or might it be his final victory over a father whose cruelty still haunts this forty-something man? Phoenix is on solid form here, with a less-is-more style of performance that borders on the visceral. His character is as purposeful and focussed as it is confused and traumatised, and I found the lack of dialogue really quite an effective tool as we see a little of what drive this man’s vengeful yet benign actions. It very much hits the ground running, and to be honest it does struggle to sustain the intensity of that pace after about half an hour, but with the emphasis now more on the psychology of his character, I found that I didn’t mind swapping some of established techniques of gory violence with something altogether more menacingly cerebral. Sure, there isn’t a great deal of jeopardy as the plot takes a fairly standard approach to it’s denouement, but it’s certainly never dull. See it in a cinema if you can, the audio is also important at helping create the tense atmosphere and that benefits from a bit of Dolby and you’ll be pleased to read that “Nina” is no shrinking violet, either.
