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. Average Ratings - 7,5 of 10. Duration - 1 Hour 41 m. Star - Ryan Eggold, Sidney Flanigan. directors - Eliza Hittman. rating - 51 Vote. The horrific reality young women face everyday in this free country of ours. Just shows how females are not valued in our society. What ever happened to separation of church and state? Right wing “Christian” money influencing our elected officials to close down clinics that serve our female population. Its a disgrace.

Critics Consensus Powerfully acted and directed, Never Rarely Sometimes Always reaffirms writer-director Eliza Hittman as a filmmaker of uncommon sensitivity and grace. 100% TOMATOMETER Total Count: 33 Coming soon Release date: Mar 13, 2020 Audience Score Ratings: Not yet available Never Rarely Sometimes Always Ratings & Reviews Explanation Never Rarely Sometimes Always Videos Photos Movie Info Faced with an unintended pregnancy and a lack of local support, Autumn (Sidney Flanigan) and her cousin Skylar (Talia Ryder) embark across state lines to New York City on a fraught journey of friendship, bravery and compassion. Rating: NR Genre: Directed By: Written By: In Theaters: Mar 13, 2020 limited Runtime: 101 minutes Studio: Focus Features Cast News & Interviews for Never Rarely Sometimes Always Critic Reviews for Never Rarely Sometimes Always Audience Reviews for Never Rarely Sometimes Always There are no featured reviews for Never Rarely Sometimes Always because the movie has not released yet (Mar 13, 2020). See Movies in Theaters Never Rarely Sometimes Always Quotes Movie & TV guides.

January 24, 2020 7:30PM PT Eliza Hittman's teenage abortion drama is a quietly devastating gem. The basic plot of “ Never Rarely Sometimes Always ” is easy enough to describe. A 17-year-old girl named Autumn (Sidney Flanigan) winds up pregnant in a small Pennsylvania town. Prevented from seeking an abortion by the state’s parental consent laws, she takes off for New York City with her cousin Skylar (Talia Ryder), where what they’d assumed would be a one-day procedure winds up proving considerably more complicated. But that synopsis, and the polemical “issue movie” treatment it might suggest, hardly does justice to the surgically precise emotional calibration of writer-director Eliza Hittman ’s exceptional film, which is both of a piece with, and a significant step forward from, her prior youth-in-crisis works “Beach Rats” and “It Felt Like Love. ” At once dreamlike and ruthlessly naturalistic, steadily composed yet shot through with roiling currents of anxiety, “Never Rarely Sometimes Always” is a quietly devastating gem. When we first meet Autumn – introverted, morose, standoffish – she’s singing a confessional folk take on “He’s Got the Power” at her high school talent show, only for a boy in the audience to interrupt her with a shout of “slut! ” A tense exchange in a pizza place with her ineffectually supportive mother (Sharon Van Etten) and openly hostile step-father (Ryan Eggold) follows, and the fact that her heckler is casually sitting a few tables over tells us everything we need to know about the claustrophobia of her hometown. When she gets back to her bedroom, she takes a look at herself in the mirror, and her eyes naturally turn to the growing bump in her lower abdomen. Autumn finds little help at the women’s clinic downtown, where the nurses are outwardly warm and reassuring, though a close read of their word choices makes it fairly clear where they come down on the Roe v. Wade debate. Since an abortion in the state requires a parent’s permission anyway, Autumn makes some hesitant, though plenty harrowing, attempts to end the pregnancy herself. Fortunately her cousin Skylar, with whom she works at a run-down grocery store, quickly figures out Autumn’s secret. Slipping some $10s from the register into her pocket, she wordlessly agrees to accompany her to New York for an abortion, and they hop on a Greyhound the next morning. Once they get there, they find themselves shuttled back and forth through the labyrinthine corridors and roadblocks of the American health care system, which forces them to remain in the city much longer than they’d bargained for. Not having anywhere to stay, they spend the rest of their trip slogging sleeplessly from one station to another, lugging their shared suitcase up staircase after staircase, and though both girls are in way over their heads, Hittman never portrays the city as a menacing urban wasteland – like so much of the adult world, it’s simply indifferent to them. (Which is not to say that the film is without threats. Throughout, Hittman makes us feel the weight of pervasive male attention. Whether it’s a creeper on the subway, a flirtatious older supermarket customer, or even an ostensibly harmless college kid (Theodore Pellerin) who tries to talk up Skylar on the bus, the fear of men barging their way uninvited into these girls’ lives hangs heavy over everything. ) Hittman’s screenplay is a marvel of economy, never wasting time filling in relationship details or backstories when they can be more powerfully hinted at. Most obviously, we never learn the father of Autumn’s unborn child, though the film subtly offers two possible candidates – neither are good, and one is particularly bad. The scene that provides the film’s title is a gut-churning back-and-forth at a clinic that opens several new doors into even darker chapters in Autumn’s past, all of which are left purposefully, and hauntingly, unexplored. We may not quite get under Autumn’s skin, but that’s by design. It isn’t just that she holds everyone at arm’s length, but that she’s a girl for whom survival is contingent upon compartmentalizing trauma, and Flanigan – a first-time actor – has a disarming way of parceling out tiny fragments of Autumn’s inner life, only to quickly raise her defenses again as soon as she realizes that she’s doing it. Skylar is considerably more outgoing, though she knows her cousin too well to try and draw her out. Indeed, the most eerily magical moments in the film are the ones that show Autumn and Skylar’s almost telepathic communication. With just a shared glance, a squeeze of the hand, or a minute spent applying one another’s makeup in a bathroom, Flanigan and Ryder are able to speechlessly convey things to which other films might devote pages of dialogue – not just reactive emotions, but complex decisions, explanations, assurances. Both performances are outstanding. But what’s most remarkable about “Never Rarely Sometimes Always” is the way it manages to honor the gravity of Autumn’s experience without ever sensationalizing it, or allowing the film to veer toward melodrama. It’s clear that taking this trip is one of the biggest, scariest things she’s ever done, but once the film fades to black, it’s easy to imagine Autumn resuming her life more or less the same way it had been before. It’s easy to imagine her never mentioning the experience again, consigning it to yet another of the emotional lockboxes she keeps deep inside. This may as well be the sort of thing that happens to teenage girls all the time. Because, of course, it is. Following a thunderstorm of Oprah Winfrey-related controversy and a successful Sundance film festival premiere, “On the Record” has secured domestic distribution at HBO Max. A harrowing look at the struggle of women of color in the #MeToo movement, specifically those accusing hip-hop mogul Russell Simmons of rape and sexual assault, the film was meant to [... ] Seven-time Oscar nominee Dennis Gassner (“Blade Runner 2029, ” “Jarhead”) was in Alaska recovering from back surgery when he got an interesting email. “Do not do the ‘Bond’ film, ” it read. “I have a film that’s very ambitious. Sending script now. ” The note, Gassner recalls, was from director Sam Mendes, who he’d previously worked with on [... ] In 1964, Variety reviewer Robert J. Landry was over the moon about the Paramount movie “Becket, ” which Edward Anhalt scripted from Jean Anouilh’s play. Landry said the film was “invigorated by story substance, personality clash, bright dialogue and religious interest. Patrons and perhaps reviewers will tend to heap credit on the actors. They deserve it [... ] With “Little Women, ” producer Amy Pascal has scored her second Oscar nomination (after “The Post”). Writer-director Greta Gerwig’s adaptation of Louisa May Alcott is only the third best picture nominee ever to be produced, written and directed solely by women, following “The Piano” and “Winter’s Bone. ” Pascal has another distinction: Of the nine nominated films [... ] Jessica Mann — a key witness in Harvey Weinstein’s rape trial who alleges the former movie mogul raped her twice and sexually assaulted her on numerous occasions — was let off the stand on Monday when she said she was having a panic attack during cross-examination. After being questioned for five hours by Weinstein’s attorney [... ] The media’s most-discussed Oscar story this year is the lack of diversity. But in fact, awards are the worst gauge of Hollywood’s commitment to inclusion, because the results are always kept secret, and because we’re talking about voters’ tastes (which may or may not involve the need to Make A Statement with their votes). The [... ] Thousands are set to cast ballots this week on two important races: the Iowa caucus and the Oscars, both of which rely on ranked-choice voting systems that are commonly misunderstood. When deciding who will win best picture at this year’s Academy Awards, voters are asking to list their favorite movies in order of preference. In [... ].

Saw this movie at a Preview Screening of Cheltenham International Film Festival 2019 in the presence of the Director - Carl Hunter. On the movies conclusion he did a Q&A about the making of his film and how raising investment over 9 years in order to fulfill his dream. It was well worth the struggle. There are certain movies — the recent Adam Sandler hit Uncut Gems is now popularly classed among them — that keep you under high stress until the credits roll. Eliza Hittman’s ( Beach Rats) Sundance drama Never Rarely Sometimes Always, about a teenage girl trying to get an abortion, will likely make you nervous and uneasy throughout, but there are flashes of respite. And all of these safe moments, where you can finally take a breath, take place inside a Planned Parenthood. Sidney Flanigan — a remarkable discovery — stars as Autumn, an intense 17-year-old girl living in rural, conservative Pennsylvania, who discovers early in the film that she’s pregnant. Terrified of her affectionate mother and casually cruel stepfather finding out, and receiving little understanding from the ostensibly well-meaning doctor at her local clinic, she confides in her sympathetic cousin Skylar (Talia Ryder), and the girls hatch a plan. Running on desperation and stolen cash, they take a bus to New York, where Autumn won’t need parental consent to get an abortion, and where they have no one to turn to and no place to stay. Writer-director Hittman resists the urge, again and again, to lean into sentiment, and the film succeeds as brilliantly as it does because she is vigilant not to fall down easy traps of romanticizing or wallowing in Autumn’s misfortune — nor, it is worth noting, does she judge it. There’s no need to heavily editorialize here; Hittman is an assured enough filmmaker to portray this drama honestly and non-manipulatively, trusting her audience to interpret the complicated heartbreak of Autumn’s predicament without having to explain it to them. The details of this pregnancy’s conception are irrelevant to the issue at hand, and Hittman doesn’t distract us with them, revealing only what we need to know but sharing little, terrible hints at so much else. Flanigan and Ryder, both in their big-screen debuts, are highly natural actors and a compelling pair, visibly bonded by the shared indignities and unique vulnerability of teenage girlhood. The devastating scene that gives the film its title, and Flanigan’s astonishing performance in it, is worth the price of admission alone. Never Rarely  takes place in what is at once a magical, far-off New York, where Autumn and Skylar float through neon-lit nights playing arcade dance games and sharing pastries, and a stark, too-tangible reality. One particularly effective device comes in the form of the girls’ unwieldy shared suitcase that never leaves their side as they navigate a labyrinth of sidewalks; Hittman takes the time to let us feel the weight of it, lingering on them struggling to get it on the subway, up some stairs, onto a table — and that’s not to mention the other burdens, more space-efficient but no less heavy, following them at the same time. The film premiered at the Sundance Film Festival on the same day as the March for Life in Washington, where Donald Trump became the first sitting president to speak at the annual anti-abortion event. A woman’s right to choose is one of the defining issues of our time; Never Rarely Sometimes Always  is an urgent, extraordinary film for this very moment. A Never Rarely Sometimes Always hits theaters March 13. Follow EW’s Sundance coverage from Park City here. Related stories: Carey Mulligan has her revenge in the wild, wobbly  Promising Young Woman: Sundance review Immigrant stories  Minari  and  I Carry You With Me  are must-sees: Sundance review.

Things really go Intresting in this series can't wait to hear how it goes from here. Can't lie still had me on edge keep up the great narriations. If you take suggestions if you can don't one military related and just as Intresting i would love to hear it. Granted I haven't herd all of your stories just yet dosent mean i won't. Thank you for hard work. “I am a nice guy” Are you sure about that. Inception: Reality Memento: Mind Interstellar: Space Prestige: Soul Dunkirk: Power Tenet: Time Nolan has been building the Infinity Gauntlet this whole time. No sound after the trailer so woman at end made me feel suddenly deaf. And as a hearing person my lip-reading capabilities are pretty mediocre.

Next episode pls. I've been waiting to listen to this. Thank you so much for continuing with this story. If only you tube had left me know sooner about this particular video sooner (don't know what happened with that) instead of me stumblingly across part five on my own. I immediately rushed to this channel and found part four will listen to part five in a bit. What a treat after the long week I had thank you again you do great work.

Your the only one who can entertain me with an hour long video and have me watch every second of it. It looks like that reverse psychology worked! Glad to have the next part <3. Everyone says they can listen to Morgan Freeman read the yellow pages. It's Bill Nighy for me all the way. And forever. I swear this was a vid of me playing I did the twirl every time before I battled a gym leader. Dude! I wanna bing watch this! Keep it coming.


TM + © 2020 Vimeo, Inc. All rights reserved. Terms Privacy CA Privacy Copyright Cookies Made with in NYC. May God bless our week in Jesus name Amen. Remember. What a place that must have been to live. As a young woman and mother, I had been through enough to know monsters are real, and would never let my children out alone. I was told once you act like there is a pervert on every corner. I said I know there is not a pervert on every corner, but I don't know which corner he is on, so I watch them all.

It's more about exposure not about innocent time. My childhood was fulled with playing outside without any adult supervision, but nowadays those same children growing up in that free day, now over protecting their children, because news spread faster and wider so we become more protective and going outside without adult supervision now is a no. Not saying there was no crime back then definitely. 100% chance I last this game. -Fed, minutes before death. | Brian Tallerico January 25, 2020 A quiet teenager named Autumn (newcomer Sidney Flanigan) looks like she carries the weight of the world on her shoulders. She’s introduced singing her heart out at a talent show—after her classmates have all either lip synced or done dance routines. There’s something melancholy in Autumn that’s not in most of her peers, and her only friend seems to be her cousin and co-worker Skylar ( Talia Ryder). It’s not long before we learn what’s weighing on Autumn’s mind—she’s 17 and pregnant. Eliza Hittman, the writer/director of “ Beach Rats, ” returns to Sundance with her best work yet, a powerful drama that’s mostly a character study of two fully-realized young women but also a commentary on how dangerous it is to be a teenage girl in America. With stunning performances from two completely genuine young leads, this is a movie people will talk about all year. Advertisement Just the simple plot description of “Never, Rarely, Sometimes, Always” makes it sound pretty manipulative: a pair of teenage girls struggle in New York City after one of them becomes pregnant and they have to travel there for an abortion. I’ll admit that I have a very low tolerance for stories of young people or children in jeopardy because it so often feels like a cheap trick to pull at the viewer's heartstrings. Hittman doesn’t make that kind of movie. Her filmmaking values detail over melodrama, unsparing of the plight of the teenage girl in America, a place that often treats them as objects or preys on them. Whether it’s the bro who makes lewd gestures at a restaurant, the grocery store manager who kisses his female employees’ hands, or the drunk pervert who pulls out his dick on a subway train, teenage girls navigate a minefield of toxic masculinity on a daily basis. After Autumn learns that Pennsylvania, her home state, requires parental consent, she convinces Skylar to travel with her to New York to get the procedure. With very little money, they make the journey via bus, and are pushed through a system that Autumn wasn’t expecting. What really elevates Hittman’s work here is the sense that Autumn and Skylar are making believable, character-driven decisions on the fly. Whether it’s Autumn piercing her nose after finding out she’s pregnant—maybe to take a form of control again—or how the women scramble to get what they need in New York, decisions feel organic and in-the-moment, adding to an incredible realism that’s embedded throughout the film. It also helps that Hittman is daringly unafraid of silence. There are no monologues. Autumn barely talks at all for long stretches. But Hittman also pushes her camera in close on Flanigan and Ryder, looking for the truth in their faces instead of manipulative dialogue. Hittman also dodges the “scary city” story that her film could have become. For the most part, the people Autumn and Skylar meet in New York are helpful, especially those in the healthcare system. One in particular asks Autumn a series of questions—the scene which gives the film its fantastic title—and it’s a breathtaking sequence, one in which it feels like Autumn herself is forced to come to terms with things she’s buried, even if just for a few minutes. Flanigan is remarkable in this scene, and throughout the film, and she’s well-matched by Ryder. Lesser writers would have made these two characters too similar, but Hittman trusts Ryder and Flanigan to carve out their own roles. They give two of the best young performances in a very long time. There are a few minor beats in “Never, Rarely, Sometimes, Always” that feel either too long or too rushed. It’s mostly a pacing issue in the center of the film, but this is a minor complaint for a major, personal work. Hittman’s visual acuity doesn’t draw attention to itself, but don’t underestimate that aspect either, reflected in simple beats like how she captures a Pennsylvania sunrise on a life-changing day or a tired head against a bus window.  There’s an artistry to the filmmaking here that elevates what really matters—her character work. It’s so hard to make stories of young people that don’t feel like they’re using the precariousness of youth as a cheap trick. Adults often write dialogue for teenagers that sounds like posturing—what old people think young people sound like—or they embed moral messages in barely-remembered memories of their younger days. The reason that “Never, Rarely, Sometimes, Always” is such an impressive piece of work is that Hittman has such deep compassion for her two leads, a pair of young women pushing through a world that is constantly putting obstacles in their path. You won’t forget them.  This review was filed from the 2020 Sundance Film Festival. 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I see a few comments on them going to the beach alone. It really was a different world back then. That simply is what happened and cases like this were unheard off. I remember walking to the beach with my friends, in Durban, when I was 10 years old. Often. Had to be home when the street lights came on. And that is just how it was. By the time I became a mother in mid 1990's, it had all changed and I never let my kids out alone, always driven everywhere, always adult supervision. Evil became normal.

Nolan: say less Warner Bros: we havnt said it yet. 14:32 xell lef hanging and his hand up 😂. James can gossip for africa. Sege and aunty Jennifer😂😂which one is troubuu😂😀. Counting down the days until this comes out. I cannot wait for this, it looks so damn amazing. How old am I? picks 16 I like your answer 😂. Fuckkkk I have to see this just not sure I can handle bawling my eyes out. 32:19 AYE YOU STAY AWAY FROM MAWILE I REMEMBER WHAT YOU SAID IN THE SMASH OR PASS VIDEO. Bless those children, someone somewhere must know more information about this tragic day. I hope one day the children and their parents receive the justice they so rightly deserve.




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