Metacritic-Rezensionen

Rape scene aside, Nowhere is stunningly beautiful to watch. There’s not one frame that hasn’t been intricately stylised. Araki brings his trilogy to a head in a bundle of celluloid confusion that encapsulates nihilistic teenage mentality and delivers an expressionistic banquet for your eyes to devour (and your brain to decipher). It’s a wild, enjoyable teenage riot.

Nowhere is Araki's most accomplished film yet, and if it never quite comes together, it's still a wildly entertaining film.

The third and final chapter in Araki's teen-angst-run-riot-in-L.A. triptych is as gorgeously messy as the first two opening salvos (Totally F***ed Up and The Doom Generation), but this time Araki employs a far broader and more complex character canvas than previously.

If it weren't so overpopulated and desperate to shock, Nowhere might have succeeded as a maliciously cheery satire of Hollywood brats overdosing on the very concept of Hollywood. But the movie is so hectically paced that it doesn't have time to develop its characters or to flesh out the tales it sets in motion. Even comic books are better at telling stories.

A visual and aural overload that ultimately tires rather than conveys a feeling of f—-d up-ness.

Inferior teen drugs-drama, lacking depth and a point.

As bad movies go, Gregg Araki's Nowhere is right up there with the best of them.

Director and enfant terrible-wannabe Gregg Araki winds up his Teen Apocalypse trilogy with this loud, ridiculous mess, and not a moment too soon.

Teen nihilism of the cheapest kind, it's as pretentious as Jean-Luc Godard, as tacky as one of those Z grade turkeys by Ted V Miklas, and at least twice as boring as that sounds.

The young people in Nowhere spend a lot of time worrying about the world coming to an end. Watching these sour characters abuse themselves and one another, the more immediate concern becomes: When is this movie going to end?