Naked

"If God is good, why is there evil in the world? why is there pain and hatred and greed and war? doesn't make sense. But if God is a nasty bastard, then you can say, "Why there is good in the world? Why is there hope and love and joy?" Well, let's face it. God exists in order to be fucked up by evil. The very existence of good enables evil to flourish. Therefore, God is bad." "What if God just put us here for his own entertainment? that's all we are. Just something for him to have a bit of a laugh at." This movie... If not surpassed... HAS THE BEST MALE-LEADING PERFORMANCE OF ALL TIME, WITH AN OUTSTANDING EXAMPLE OF CHARACTER STUDY! This movie tells about Johnny, a wandering, unemployed, misanthropic mancunian after an abusive rape which gradually changes into sexual abuse, steals a car and drives all the way to London to re-enter his ex-girlfriend, Louise's life where she has attempted to distance herself from the ideological hellhole that johnny has crawled from after a vicious affair with louise's housemate Sophie, an unemployed vulnerable and emotionally dependent woman. Johnny fed up of them completely and contrasted with the dangerous misogynistic chauvinism. This movie also interrelated with a character named Jimmy or Sebastian, an abusive, lustful, young landlord with a fondness for the suffering of women. Johnny then pursues misery on the streets of London, whis his 'hellholic' ideology. This movie is Mike Leigh's challenging British realist classic, starring David Thewlis in a disturbingly magnetic performance as Johnny, a character that may just be one of british cinema's greatest monster, portraying perfectly the act of vulnerable narcissism. A bastard who behaves similarly to Malcolm McDowell in "A Clockwork Orange" as Alex deLarge. Johnny is a deep well of hatred misanthropy and nihilism, believing himself to be an intellectual; willing to free others of the shackles of ignorance with his warped perspective on truth. But in reality, Johnny hides and projects a deepened insecurity and vulnerability within himself onto others even if he doesn't quite realize that's what he does unable to free himself from his own inescapable sense of hopelessness and in a disturbing revelation throughout his nocturnal odyssey. This film was the receptacle for some of the most sulfurous outpourings of fear and rage and non-compassion of a great monster of British cinema, the insufferable lippy wide boy and pseudo-intellectual Johnny, a character roiling internally with despair with whom David Thewlis made his horribly watchable breakthrough in a 132-minute guitar solo of a performance. Naked is another of the tikenzian grotesqueries that Mike Leigh can create so fluently and it is one of the great paradoxes of his career that despite devising them through improvisation. No other director makes films that sound so elaborately written, the sheer fanatical stamina of Johnny The Provoker, Johnny The Pisstaker who won't stop until someone puts him in A&E, is awe-inspiring. There is also his impressively unrepentant behavior at the end; I can't see it without thinking of the Seinfeld dictum; no hugging, no learning. All the time Johnny is talking, talking; never once does he back down or come off it; he's always posturing or brow beating and Johnny is a predator an abuser whose evident anguish and self-hate does not entitle him to a moment of our pity. He is at the center of a fiercely pessimistic story that is not leavened as many of these films are with redeeming features. This is a movie of pathetic nihilism and scorn. Pure misery and hatred with the melding of a masterful densely researched performance from David Thewlis and Mike Leigh's brilliantly unconventional approach to writing; a simple premise working one-to-one with the actors to develop characters through improvisation. Johnny can incessantly question and chastise the actions of others as if a desperate action to hide his own errors by highlighting the errors of anybody else. He is a deeply unpleasant abusive individualist, portraying raw and powerful masculinity over vulnerable femininity. Johnny becomes more unpredictable character in his effortless ability to piss everybody off when he debates the existence of God and other philosophical and sometimes conspiratorial ponderings, while Johnny's views converge on the absurd discussions of God being inherently bad seemingly blasphemous, yet Johnny rationalizes it by suggesting God has to be bad as evil exists in the world and God is omnipotent and if good exists it only exists to fall at the hands of evil and how humanity cannot comprehend its future similar to the amoeba revolving into the frog are surprisingly persuasive arguments to the extent that these discussions may bear a heavy depressive influence on viewers of a sensitive disposition. Johnny's philosophical digressions and existential debates stem from a deep-seated insecurity to prove himself intellectually superior insecurity hidden by narcissism when in actuality after being beaten to a bloody pulp we see johnny as his true vulnerable self scared timid meek childlike he is an outsider pushed beyond the societal fringe he doesn't do himself any favors and constant stream of conscious toxicity makes him an incredibly easy figure to hate but it's through this outside estate that makes him sexually appealing to women. All in all, 'Naked' is an outstanding, raw, and unfliching movie, conveying deeply the actions of vulnerable narcissism, allegorically representing the Joker of British.