Mad Love in New York

Truly didn't expect anything out of this, which is why it was such a huge surprise. I don't think its flawless, but effective it surely is. I feel like its style is definitely going to out off a lot of people (quite a lot actually). I mean, even from the get-go it basically affirms the type of film it'll be and how it'll be presented, with its loud, throbbing score (which is both beautiful as an individual piece, but also really disturbing in the context of the film). The performances here are compelling, all of the main actors totally and fully committed. Arielle Holmes is a true talent though, what a fantastic performance. Raw and real and totally honest, no artifice or anything. This film is fully recommended.

There are few films as unforgiving as Heaven Knows What. With its blistering soundtrack and rough in-your-face photography, you're either captivated or eyeing the exit. The Safdie brothers fictionalised retelling of Arielle Holmes life on the street, as played impressively by herself, is relentlessly bleak. The only joy is securing a dose of heroin. It doesn't keep track of names or days, just showing how she survives moment-to-moment. That kind of loose narrative thread void of character backstories can work if it holds together thematically, but Heaven Knows What isn't clear what it's trying to say besides showing the life of an addict. It latches onto hints of a theme of unrequited love, as demonstrated by Holmes' toxic relationship with her easy-to-loathe on-off-again boyfriend Ilya. Not that he has to be likable - the devastating first act where he encourages her to commit suicide is the film's finest stretch - but he's so loathsome that he drag the film down with him. Holmes has her own moments of venom, though it's balanced with vulnerability. Perhaps his purpose thematically is that he represents her relationship with heroin, but that's too on-the-nose and flimsy to bolster the film's quality. Instead, the film hinges on that docu-style commitment from both the directors and the cast. Certainly an emotionally exhausting experience with the aesthetics, I just wish it was more thoroughly explored on paper first.

7/10

I saw Good Time a couple of years ago, and to make a joke that absolutely everybody who saw and enjoyed it has already made: it was a good time. Tense, gritty, and excellently paced, it also piqued my interest in the Safdie brothers as filmmakers going forward. Uncut Gems has been on my radar for a while, and I'll finally have the opportunity to see it in a few days, but in the meantime went back into their filmography to see what else they had to offer. The interesting premise and critical acclaim of Heaven Knows What grabbed my attention, and so I gave it a watch last night.

Throughout much of the film, I thought it was pretty decent if not quite remarkable. It looked good and was shot well for an indie film, the music made me feel queasy in a good way, and the central performance from lead actress Arielle Holmes- who I did not recognise- was very good. I was surprised to learn once the movie was over that not only was this loosely based on a true story, but that it was indeed Holmes' story- she effectively played as version of herself throughout the movie. And this made me appreciate her performance even more- it was brave of her to relive such a traumatic story on screen, and even if she was acting situations close to what she experienced, the fact that this was her first time acting is still mightily impressive. I was under the impression while watching that she was just an unknown, freshly discovered actress, albeit a very good one. This semi-autobiographical, almost meta twist is definitely the most interesting and notable aspect of the film.

Besides that, is Heaven Knows What worth the 90-ish minutes of grit and potential trauma? I would say yes, but don't expect to see anything you haven't seen or heard already in most movies that depict drug addiction. It treads familiar ground but does so well, although by and large the acting from the rest of the cast isn't quite as strong as Holmes'. There is also a loose, not exactly propulsive unfolding of events that serve as a vague kind of story, so while this is somewhat frustrating, it's also almost definitely intentional. It depicts the flow and tedium of a life that's all about trying to score the next high; a life that is surely 99% frustrating, tedious, and stress-inducing. It doesn't make for a pleasant watch, but it does make for a mostly compelling one.

The treading of familiar ground and not excelling in anywhere but the casting of/performance of Holmes is the only thing that holds this back. The Safdie Brothers were likely still tweaking their craft that they'd essentially end up perfecting in Good Time, but this is a really solid effort, and worth watching if you either haven't seen many movies about drug addiction, or are okay with watching one that might not necessarily tell you anything new about the topic.

The story in itself is very disturbing. I had to say these actors did a sensational job. I felt like I was there living on the streets with them. They were extremely convincing.

I felt inspired to add one more review as this film has very few thus far.

I had first heard of this movie from Ariel Pink when he was working on music for the film. Initially they were toying with the idea of having him play one of the more important characters in the film, but eventually he decided to stick with music composition and a quick cameo, which can be seen in the early portion of the film. I never got to seeing it when it was released, but GOOD TIME came out, and got my attention right away. GOOD TIME ended up being my favorite film of 2017 by a longshot. Totally blew me away - the combination of everything was just stellar... the acting, the anxiousness of the characters, the pacing, the claustrophobic sort of cinematography, the synth score by Oneohtrix Point Never which is simultaneously beautiful and relentless, and of course the script and thus the movie as a whole. If a title card gives you goosebumps on it's own that's usually a really good sign.

Tonight I decided to go backwards and check out Heaven Knows What. I knew after what they delivered with Good Time, it would likely be firing on all cylinders as well, and that is exactly the case! It hits hard with just about every single one of the elements that made Good Time so great, only Heaven Knows What is a far bleaker film, probably since it's based off of the true story of a junkie, portrayed by that junkie. In Good Time, though it's still heavy, you kind of get to laugh at the characters for being such dumbasses, but in HKW, there's nothing to laugh about. These characters are all living through the bowels of existence - they are all fully psychologically emaciated - and the portrayal of it is painfully realistic. This is an extremely tragic film. If you can't find something to appreciate in tragedy, or in an analysis of psychological decomposition, then you probably won't like the movie. Personally, I found it to be some form of a masterpiece. A very fitting launchpad and showcase of ability for the incredible Safdie Brothers and for the brilliantly terrifying Caleb Landry Jones. It's also a very fitting precursor to the gripping masterpiece that is Good Time. I'm sure this was a very rewarding cathartic experience for the captivating lead, Arielle Holmes, as well - you could now call me a fan. I went to follow her on Instagram but couldn't find her :(

This film features one of the most devastating ways to start a film I have ever seen. To introduce two characters this way... that's why I give this film a 10. Everything that leads up to the title card... so, so heavy - so raw, so real. It's almost too much, and that's why it is such an accomplishment.

As such a huge Good Time fan, it's incredible to see Necro and show stealer Buddy Duress in their first roles as well. Duress really, really kills it in both this and Good Time. Such impressive performances coming from a dude who prior to this had been featured in zilch, nada, nothing.

I love reading negative reviews for films whenever I find a movie to be completely masterful. "I just couldn't figure out what this movie was about, it's incomprehensible!" LOL, really? Seems pretty straightforward to me: some junkies are living their screwed up lives, trying to survive, and we get to watch. There's nothing else to it, and there doesn't need to be. How is that incomprehensible?

I could go on, but I will stop here. As long as you are down with the bleakness, this is a movie you must see. The score by Japanese synth legend Isao Tomita is incredible as well. I'm just really wholly impressed. This movie is really gonna stick with me. I can't wait to see what the Safdie Brothers do next.