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.

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 began this movie in a state of repulsion: the characters live a stunted, grotesque life on the streets of New York. We are forced to bear witness to their pathetic lives, squabbles and desperate lust for drugs.However, I was struck by how strongly I felt about it. I realised the performances were raw, and without artifice, and brilliant. And I was being forced to consider a group of people I would usually shy away from, and reject without a moment's thought in real life. Characters come and go in a dreamy timeless stream of events. They are like wayward children: showing concern for each other's wellbeing one moment and scream obscenities at each other the next. They loudly proclaim tales of valour and adventure, eager for attention. Mike, ironically, lists the lethal dangers of driving on the back of a motorcycle as Harley rides around with a stranger. Ilya wanders up to Harley while she's listlessly having sex with someone in the gutter. Harley is vaguely entertained by a man doing tricks on a motorcycle. Ilya harasses Harley days after encouraging her to slash her wrists. They are dirty, mean, angry, violent, overly dramatic, desperate and lost. Arielle Holmes bring a fresh earnestness to the role of Harley. She is full of contradictions: vulnerable and hard, caring and disloyal, hopeless and hopeful. You can't help but look for signs of life, and potential in her eyes. Harley hints that Ilya was the reason she became a junkie. Her world revolves around her infatuation with Ilya, and her mind-numbing obsession with heroin. "Don't you want to be your own person?" Mike asks her. No. She is a shell of a person. There appears to be no hope of redemption for Harley.If you're a fan of great true-to-life story-telling and like a good art house flick, this is an excellent choice. The simplicity of these people belies a powerful story.

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.