A Character study on people all too relatable to society. A Hard Watch Due To SA scenes this dark gritty drama provides scenes that provokes question in to the audiences mind such as who to side with and if you even can. Mike Leigh’s grittiest to date, all thanks to his incredible pool of actors and vision to mold them. A film you need to watch again and again that limits you from doing so due to its overstimulating nature. Cinematography: 4/5 Writing: 4/5 Directing: 5/5 Acting: 5/5 Entertainment: 3.5/5 84%

I think its a great movie. It makes you hate it and than makes you love it. You can see yourself in it and thats what makes it so special.

Let's remember that this film was originally made to be seen on a screen in 1993 in a pre-internet age. Its harrowing darkness and bleakness was unbelievably stark and brave at the time. I saw it in the cinema back then, and saw it this year on a 온라인카지노추천 screen while sitting at home. I can see why some people might view it negatively if they saw it that way. It is, ultimately, an art house kind of film that I absolutely loved at the time, and now find interesting as a sort of historical peak experience of grimy human nastiness. It is brutal and unappealing in many ways, but it is not forgettable.

I honestly can't understand why this has such high ratings. The most annoying lead character I've ever seen in a film and what a miserable, pointless film it is featuring horrible scenes of sexual assault throughout.

as reflexões levantadas pelo protagonista detestável fazem o filme valer a pena

When does this start to get good? I've had about all I can take of this insufferable main character. Is he funny? Clever? Profound? Nope. Annoying as hell? Yup. Edit: Like a fool I watched to the end, gave it a chance. I want my 2 hours 12 minutes back. This is probably now my least favorite movie. What just happened. Oh: Unrepentent monsters, these two men. Content warning for sexual assaults.

Mike Leigh is renowned for making bitter-sweet movies, but Naked was rare in that it is almost entirely bitter. There is an occasional sweet moment, but they do not end in any salvation for the characters. They are just moments, perhaps misplaced ones. The tone is set by the movie's protagonist, Johnny Fletcher (David Thewlis). I am tempted to call him the movie's antagonist. He is a man who seems to be in permanent opposition to everything he sees. We certainly cannot call him a hero. He is not the most appealing of men. He looks gaunt and ill. His hair and moustache are untidy. His complexion is pasty. He frequently coughs. At the start of the film, Johnny is forced to flee Manchester in a stolen car after having violent sex in an alleyway with a married woman – or does he rape her? He wishes to escape being beaten up by her family, so he sets off for London. He will eventually be assaulted (twice) which is a belated comeuppance, I suppose. Johnny opts to stay with his ex-girlfriend, Louise Clancy (Lesley Sharp). She is living in rented accommodation with two other young women, and has mixed feelings about seeing him. Despite his past involvement with Louise, Johnny has sex with her flatmate, Sophie (Katrin Cartlidge). Sophie is a shopsoiled Goth, easy to seduce, and easy to abuse. Men treat her brutally in the bedroom, but the sex is not truly sado-masochistic. She submits, but she doesn't enjoy it. Eventually Johnny soon grows weary of Sophie's clingy affection, and he sets out on an Odyssey of London. The echoes with Homer's book are clear (at one point Johnny even picks up a copy of Homer's Iliad). Johnny is on a journey of the city that involves him in a number of adventures, which culminate in him returning to his Penelope. The overall picture left by Naked is one of hopelessness and despair. This is reflected in the movie's mise-en-scène. Johnny walks along shabby streets covered in rubbish, and passes drab buildings. He stops by stairwells, or rests in doorways. The interiors of houses are usually mundane and cluttered with items. Even the bin in the women's flat is overflowing. Brian's job is to guard a building that is nothing more than empty space. The man who puts up posters spends half his time putting up advertisements for new events, and the other half pasting Cancelled notices over the older events. Both of their jobs are an exercise in futility. The characters are metaphorically naked. They have been stripped of a meaningful vocation, of healthy relationships and of any sense of purpose in their lives. They are trapped in a drab post-Thatcherite Britain that has left them behind. here is no healthy outlet for their emotions, so the men resort to violence. We see no healthy sexual experiences in the film – all the sex contains a level of cruelty that is virtually rape. There are no family units. Redemption is not to be found in love, or in being with another person. Not only do the characters have no roots, they do not even seem to want them. Mike Leigh is one of Britain's most distinctive directors. He uses a style of his own that makes any of his films instantly recognisable as his. At first glance, Naked may appear as if it has been made up on the spot. There is extensive use of hand-held cameras, and the dialogue sounds as it has been largely improvised. n fact the process is more complex than this. Leigh allowed the cast to develop the personality and back story of their characters. They were asked to interact with each other and with the outside world whilst still in character. However they were not to discuss their roles informally with one another, but to reveal the nature of their characters while acting. The best dialogue was then distilled into the script. The written script for Naked was only 25 pages long. This is a risky approach to film-making, as it puts much onus on the actors to convincingly develop their roles, and to create a focused drama together. Occasionally there are weaker links within any Mike Leigh film, or ideas that do not translate well onto screen. Naked is the best example of his work, a movie in which all the elements come together to make a film that is dark and seamy, yet somehow exciting and uplifting. I wrote a blog expressing a longer appreciation of Naked if you would like to read more: https://themoviescreenscene.wordpress.com/2020/05/07/naked-1993/

Can't say I understand all the acclaim for this one. An unlikeable, pretentious a-hole spends a night in London putting down others so he can feel better about himself. That's it.

What are the delights of man but his own suffering? What is the pathetic indulgence of the weak but an acknowledgment of one's own superiority? What else is the ecstatic bliss of chaos but the regimented banality of the universe? Its honesty betrays its themes of indifference, desire, insanity, greed, and apathy, but throughout, inspires you to delve deeper into your own dark soul. One of the greatest films I've ever seen. Make sure you've properly slicked your soul before entering, or you might not be honest enough to make good.

Arguably his best film and certainly his most divisive, Mike Leigh's Naked tells the story of Johnny (David Thewlis), an amoral Mancunian drifter who wastes his considerable intellect lecturing to anyone foolish enough to listen to his streetcorner philosophies. It is a dark and grimy film filled with narcissists and nihilists, few of whom have any redeeming characteristics. If you can get past this (as well as the cloying music score early in the film), you'll find a brilliant and insightful script by Leigh as well as one of the greatest performances in recent memory by Thewlis as the raging sociopathic antihero. Not everyone will like Naked's rawness, but everyone will remember it.

Basically a fully grown holden Caufield 2.2. You reach a point and just want the rambling done with

Miserable fuckin' bit of arthouse fare. Between the sexual assault, other misogyny, near-constant belittling of others and Spud with Tourette's, I can't really say too much to recommend this to anyone except other film lovers who can hang with someone as miserable and fuck-all a being as Johnny. But then Johnny is a product of time and place in England. Rampant unemployment, economic stasis and decline, youth strung out and desperate. Thewlis is remarkable. Not for the weak of heart or disposition. 3.3 stars

Naked follows an intellectual wastrel - if such a thing can exist - over the course of a day in London. Johnny bounces around the city finding places to crash, whether on the street or at an ex-girlfriend's or on the street. As he wanders about, he seduces women, steals a Jane Austin novel, muses philosophically and Biblically with a night watchmen, gets mauled in an alleyway. Like Jimmy McGill in Better Call Saul, he seems compelled the wrong choices as if to challenge his own survival. Excellent performances throughout, led by a masterful David Thewlis.

I can still remember seeing this when it came out, and some of the lines have stuck in my head almost 30 years later, lines like "I used to be a werewolf but I'm all right nooooooooow," "Merely jesting", and "Does anybody mind if I scream here?" This film is propelled by David Thewlis's glib, profane, hyper-articulate, hyper-joking protagonist through the streets of London. It's an episodic feast of one man's frenetic thrashing about.

Abrasive, sharp, and saturated with dark humor. There's a lot to praise about Naked, but I want to highlight three things. 1) The writing is airtight. It's sharp and witty, covering everything from conspiracy theories to misogyny. 2) Johnny (David Thewlis) is remarkable. The character is one of the most full-flushed out characters I've seen on film. He is deeply flawed, egotistical, bitter, and intelligent, yet fundamentally human. 3) Andrew Dickson's score is the unsung hero. The tight, almost sinister tones serves as the perfect compliment for an atmosphere of anxiety and cynicism.

I don't think there's a better performance in history by a male actor than David Thewlis in this movie. The entire cast is wonderful and the fact that most of the dialogue is improvised only lends to the astonishment one gets when watching this perfectly crafted film. Wickedly funny, wickedly sharp, melancholic, dangerous and misanthropic, trust me when I say you've never seen a movie like this and probably won't ever again.

Fantastic. Great movie for thinking people

Developed and scripted from numerous extensive improvisations of the actors in character, Mike Leigh won Best Director at the Cannes and David Thewlis, Best Actor, for the idiosyncratic modus operandi but its oppressively pessimism and arbitrary philosophical dialogues demand an acquired taste.

No matter how much work you put into it, Thewlis has a magnetic personality, you'll be drawn unwillingly. Naked Leigh is challenging himself. Starting the film with such a heinous act, he is primarily challenging himself rather than setting the tone of what you should prepare yourself of. The writer-director, Mike Leigh has a daunting task then, to keep us engaged and involved in characters that doesn't particularly speak with the common audience. There is very little space for him to wander here and there. The reasoning or justification might come off as a pretentious act. But Leigh is a clever chap. His film isn't obsessed with convincing you to follow or root for, in fact, any of the characters. He just wants you to observe them from a distance. And maybe, that is why at their most vulnerable state only, he decides to show us a close up. While the rest of the time along with distance, the surrounding or environment too is mapped for us to not fall into them. The film actually deals with plenty of themes, considering the fact that David Thewlis literally goes door to door, knocking some philosophical debates into others. But the endorsement strategy states it to stage the primary physical theme up front. And even though for the most part of the time the conversations are debates, as mentioned, they are often a part of distraction. Look, how there is background score while Thewlis spews his views and how unfinished most of the sentences are. The real target lies in the physical sequences. The way he walks, behaves, switches back and forth, reserves, embraces and in the end, even releases his emotional issues in an almost panic attack. The writing and execution is, of course, sharp and mature, but it is the performance, the conviction in them, that puts it all over the top and still balanced. Naked has the natural state of the least "normal" routine you could think of, and yet they are humans.

Certainly a unique film about people on the fringes of UK society. Some witty dialogue and puns. Ultimately, I'm not sure if I want to see it again with some of its far fetched situations/characters.