Occasionally a film comes along and morphs in front of your eyes, becoming something unexpected. And this is the case with Damon Rickard’s Never Have I Ever, a wonderfully compelling, tricksy work with a confidence that belies Rickard’s status as a debut director.
Sam is having a bad day, a series of banal events – locked out of his flat, losing his wallet, late delivering a piece of work - snowball leading him to need a drink in a bar. There he meets a flirtatious figure who buys him a drink and offers an ear for his woes. But there’s more going on here, as the film darkens into something pitch black by the final act.
Rickard’s work is mightily impressive, confident and expansive. The film shares DNA with early works from Yorgos Lanthimos and Christopher Nolan, but also captures something uniquely of the director. Technically, Never Have I Ever is outstanding. Mitch Bain’s score is mesmerising, confidently morphing as the film’s own tone changes. It also blends effectively with Jack Ayrers’ visual palette, giving each locale a look, feel and atmosphere.
Rickard gives room for the central figures to develop into more than just caricatures. Andrew Lee Potts balances humour with an underlying threat to Sam. Beatrice Fletcher as the mysterious newcomer gives a rich, nuanced performance, especially impressive as she must carry much of the emotional heft of the second half. For the most part Never Have I Ever is a two-hander. While it’s endearing to hear Graham Skipper’s voice on the phone, that’s all his role is. Johnny Vivash has fun as a bartender with a particularly spiky brand of humour. But really, much is placed on Fletcher and Potts, with both performers rising to the occasion.
Go in to Never Have I Ever as blind as possible. Let the film envelop you and ride every twist and turn with it. You will find this a richly rewarding film, one that makes Rickard out as an exciting fresh talent on the British cinema scene.
5 Screams out of 5
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