You know that guy, Henry Spencer (Jack Nance, GHOULIES)? Guy with the tall hair? Yeah, he works at a printing press I believe is what he said. Supposed to be very gifted. Anyway he knocked up his girlfriend Mary (Charlotte Stewart, Little House on the Prairie). Very awkward. Went to meet her family, it was like the quietest, saddest dinner party of all time. Darkest, too. Turn on some lights in there, people. They asked him if he’d do the honor of cutting the tiny little chickens they cooked and yes, I’d be honored, but also… is there some specific way you want me to do this? I could use some guidance here.
I don’t see him much, mostly stays in his cramped little apartment. Had a hard time sharing it with her and the baby, I tell ya. Baby’s a little lamb or maybe lamprey type of guy. Little crying worm head poking out of a ball of who knows what wrapped in bandages. Just lays on his little pillow all day. Doesn’t even have a crib. Good kid, though. Handsome little guy, in a way.
They don’t really talk. Not much to say. Henry just lays chest down on the bed staring at the radiator. Sometimes there’s a tiny lady in there (Laurel Near). Perky little thing, weird puffy cheeks, big forced smile. It looks like a stage inside there so she puts on a show. Shuffles from side to side, sings him a song about “In Heaven everything is fine.” (read the rest of this shit…)
This may be lost to time now, but back in the aughts when 
YOU WERE NEVER REALLY HERE is the latest example of what I call “Arthouse Badass” – movies with subject matter and tropes from our beloved crime/action/tough guy movies, but with more interest in formal experimentation and subverting expectations or cliches than in delivering on traditional money shots. It’s based on a novella by Jonathan Ames that sounds like a pretty straightforward action kinda thing, but it’s written and directed by Lynne Ramsay (
