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2. Author Ben McShane
3. Bio First of His Name, Producer of Television, Roller of Polyhedrons, Hoosier Expatriate, Alebane, Paterfamilias of House McShane and Their 8 Feline Wards. He/Him

Director: Eliza Hittman. genres: Drama. David Buneta. country: USA. Story: A pair of teenage girls in rural Pennsylvania travel to New York City to seek out medical help after an unintended pregnancy. 1214 votes. Critic’s Pick In this stirring drama, the director Eliza Hittman tells an intimate story that is also a potent argument about self-determination. Credit... Focus Features March 12, 2020 Updated 4:58 p. m. ET Never Rarely Sometimes Always NYT Critic's Pick Directed by Eliza Hittman Drama PG-13 1h 41m A low-key knockout, “Never Rarely Sometimes Always” tells a seldom-told story about abortion. And it does so without cant, speeches, inflamed emotions and — most powerfully — without apology. At its most obvious, it follows a 17-year-old as she tries to terminate her pregnancy. It’s a seemingly simple objective that proves (no surprise given the battles over abortion) logistically difficult, forcing her to marshal her modest resources and navigate perilous twists and turns. Here, a woman’s right to self-determination has become the stuff of a new and radical heroic journey. That odyssey begins in a central Pennsylvania town where Autumn (the excellent newcomer Sidney Flanigan) is struggling at home and everywhere else. Her mother seems loving and supportive, but also overtaxed from caring for a family that also includes two younger children. Autumn’s stepfather, by contrast, is infantile and aggressively petulant, and seems eager to run her down at every opportunity. (He also has a seriously icky way of playing with the family’s female dog. ) Autumn’s more immediate problem is that she’s pregnant and isn’t ready to be a mother. Physically closed in and unsmiling, outwardly surly and inwardly despairing, Autumn doesn’t quip her way out of trouble or even talk that much. You probably know that girl; maybe you were that girl. She makes bad choices, dumb mistakes, rolls her eyes. She can be casually mean, but isn’t cruel. What she is is viscerally — gratifyingly — real, which makes her more like the blissfully imperfect (if more comic) heroine of a feminist cri de coeur like “Eighth Grade” than the plucky, unthreatening girls that mainstream film loves. All of which makes Autumn part of a slow-moving transformation that, movie by movie, is redefining the roles women play onscreen. With manifestly unshowy, superb technique, the writer-director Eliza Hittman ( “Beach Rats”) eases into “Never Rarely” with Autumn performing in a school talent show. The theme of the show seems to be teeny-bopping to the oldies, complete with a tragic Elvis impersonator. Autumn, with her pink satin baseball jacket, looks ready to rock 'n' roll in a “Grease” revival even if her acoustic guitar and glittery silver eye makeup suggest she’s also doing her own thing. “He makes me do things I don’t wanna do, ” Autumn sings, braving it alone onstage and turning a 1963 pop hosanna into something close to a mournful protest. “He’s got the power, the power of love over me. ” The talent show’s canned nostalgia — with its boy-girl couplings and intimations of Eisenhower-era norms — offers a quick, incisive contrast with the image of Autumn tremulously pouring her heart out. It’s a shrewdly economical set piece that both demonstrates Hittman’s gift for visually driven storytelling and situates Autumn in a world that you want to pluck her right out of. She seems so alone, so out of time and place. But it’s also a bit of misdirection. Because when Autumn keeps singing, even after a smirking guy in the audience heckles her, Hittman has already defined what kind of girl this is. Only a few minutes in and it’s obvious that she can save herself. After some hurdles and missteps, Autumn sets off. With a cousin, Skylar (Talia Ryder, touchingly delicate), she buys a bus ticket to New York, where a minor doesn’t need parental permission to obtain an abortion, unlike in her home state. The trip is banal but comes with the customary perils, including the unavoidable loser (Théodore Pellerin) who’s always on the make. When — uninvited — he touches Skylar to get her attention, Hittman cuts to a close-up of his pale hand on Skylar’s body, holding the shot long enough so that there is no ambiguity about the depth and meaning of this superficially casual gesture: its arrogance, its privilege, its sense of ownership. Hittman is telling a story but she’s also making a quietly fierce argument about female sovereignty. Autumn wants to get an abortion, take control of her life and her body. But the world doesn’t make it easy (never does). She needs a clinic, money, bus tickets and the ability to get herself from one state to another and then negotiate New York City. She has to figure out the subway, dodge creeps and find one place to eat and another to sleep. (Odysseus at least had a ship. ) In “Never Rarely, ” the hurdles to an abortion are as legion as they are maddening and pedestrian, a blunt political truism that Hittman brilliantly connects to women’s fight for emancipation. That battle is at the center of a gut punch of a scene in which Autumn, using only the four words in the film’s title, answers a health worker’s questions about her health, sexual history and partners. It’s a simple, stripped-down scene: just two women talking in an office. Scene by scene, with understated realism and lightly gritty visuals, Hittman has been bringing you close to Autumn, whose face rarely betrays her. Now, though, as Autumn responds to questions about sex and boys, she cracks. And, suddenly, her innermost world — with its private agonies and power struggles — opens up and she is ripping your heart out with a face that now mirrors your own. Never Rarely Sometimes Always Rated PG-13 for adults themes and creepy guys. Running time: 1 hour 41 minutes.

A This review is part of our Sundance 2020 coverage. The Pitch: When we first meet 17-year-old Pittsburgh teen Autumn ( Sidney Flanigan), she’s singing in a high school talent show. She has a golden voice but is stymied by a dude heckling her in the bleachers. “Slut! ” he calls her. Once we see how other boys torment her, her downcast, withdrawn attitude, and the slight bump on her stomach, we get a good idea of what’s going on even before she goes into a clinic: she’s pregnant. What’s more, she doesn’t want it. Her local resources are of no help: the Pittsburgh clinic she goes to turns out to be one of those Christian pregnancy centers that scare women into not aborting (and even lie to her about her baby’s progress so getting an abortion will be harder), and the state requires parental consent for an abortion. So, with the help of her supportive cousin Skylar ( Talia Ryder) and some stolen money from their scuzzy manager, the two take a long trip to New York to get the abortion there. Right to Life: 2017’s Beach Rats proved director Eliza Hittman ’s uncanny gift for observation, both it and Never Rarely feeling more anthropological than strictly narrative. There, Hittman probed deeply into the anxieties of a gay teenager stifling against the rigid confines of toxic masculinity: here, she turns her eye to the modern anxieties of abortion in America. It’s pure kitchen-sink realism from start to finish; the score is sparse, if it’s there at all, and DP Hélène Louvart sells the fluorescent coldness of doctor’s offices and crowded Greyhound buses. She wants you to live in Autumn’s anguished, nerve-wracking world, and the results are revelatory. It helps, of course, that Hittman has such a fascinating, mercurial subject to turn her camera towards. This is somehow Flanigan’s first on-screen role, which is a miracle considering what she pulls off here. She’s cagey and far from forthcoming, even in the abortion clinic questionnaires that give the film its title. “I’m okay” is her mantra, squeaked out from under downcast eyes; her life is clearly a heavy burden, one marked with the scars of emotional and sexual abuse. That we can figure this out even before it comes up in the script is a testament to the power she and HIttman can eke out without an inch of melodrama. Ryder also shines, beaming with unconditional sisterly support, even as there are certain aspects of Autumn’s experiences she can’t fully understand. Are Men Okay? Never Rarely Sometimes Always is also a film about maleness — in the most grippingly caustic way possible. There isn’t a single “good man” in the film: her father ( Ryan Eggold) is a crass, uncaring jerk (he even calls his dog a ‘slut’), and her manager forces his female coworkers to let him kiss their hand when they hand him their drawers at the end of their shift. A pushy fellow bus passenger ( Théodore Pellerin) ropes them into hanging out in New York so he can push himself on Skylar, which they reluctantly agree to in a moment of desperation. To a more jaundiced eye, this can seem cartoonish and unrealistic: surely #NotAllMen are like that, right? But then you remember that, a lot of times, we really can be, and Hittman’s refusal to let us off the hook becomes one of the film’s braver choices. Never Rarely is, at its heart, a film about the prison of patriarchy, whether in interactions or institutions, and Hittman nails the threat level women often feel when in situations with men, especially ones they don’t know. The Verdict: It’s easy for opponents of abortion to demonize young women as “sluts”, or irresponsible, or lazy; those perspectives end up de-centering and dehumanizing the pregnant person themselves. Never Rarely is a sobering, unflinching rejoinder to that perspective, intense but humanistic in equal measure. It’s not an easy watch, to be sure; moments will make you weep, especially two close shots of women holding hands that bookend Autumn’s abortion experience. But the glory of Hittman’s film is in finding those moments of beauty among the brutal silences, and the magnetic grace that can be found in a person’s most difficult days.

Drama genres full never rarely sometimes always reviews. Once you watch Eliza Hittman’s raw portrait of a teen in a pregnancy crisis, Never Rarely Sometimes Always, the lengthy title choice will make absolute sense. After exploring teenagers’ journeys through young love and trauma in films like It Felt Like Love and Beach Rats, Hittman’s third film follows Autumn (Sidney Flanigan), a Pennsylvania girl with boy problems, a tense relationship with her stepfather, and a lecherous boss at her job at a grocery store. The movie is unclear at who gets Autumn pregnant — a choice Hittman says she made deliberately — but in any case, like many girls and women each day, she’s left to take care of it on her own. With the state’s laws restricting abortion for a girl her age and a false pregnancy center that lies to her about the status of her condition, Autumn and her cousin Skylar (Talia Ryder) must travel to New York City for medical attention. Though Never Rarely Sometimes Always film made its way to theaters just as screens across the country were going dark, the film arrives to VOD starting April 3. In an interview with Polygon, Hittman reveals the tragic inspiration behind the movie, how it ties into her previous films and why she felt the need to tell the story now. Polygon: What moved you to tell a story about abortion? Eliza Hittman: The inspiration came in 2012. I was editing my first movie, It Felt Like Love, and I stopped to read a newspaper. I read a headline that really struck me about a woman in Ireland who passed away after being denied a life-saving abortion. I just started reading about Ireland, abortion laws in Ireland and the Eighth Amendment. I started reading about how women would travel from Ireland to London for an abortion and back, usually in a day. There was something about the idea of this journey that I found very compelling, and a little light bulb went on and I said, there’s a movie in there worth exploring. Initially, I wrote a treatment set in Ireland, but I didn’t think anyone would fund it. I didn’t think I could find the resources necessary to make it, but I also felt that the same journey exists all over our country. I just started reading about it, and thinking about the journey that many women take from rural areas into urban areas for access to reproductive care. Photo: Angal Field/Focus Features Since your inspiration was a woman’s story, at what point did you decide to make the main character a teenager? I guess all of my films sort of explore themes about youth. I became captivated by this town in Pennsylvania, and I just started reading about Pennsylvania, specifically its long list of restrictions on abortion access. The one that struck me the most was parental consent because your options are either to tell your parents, which is generally not an option, or you can go talk to a judge, and a judge would determine your maturity. I just thought if I was 17-years-old, and I couldn’t make that choice for myself, I would find my way out of that. I consulted a lot with Planned Parenthood on the film, and I met with people at Planned Parenthood Keystone. They told me that young women often go to Binghamton or New York. I thought New York was a much better setting for a story. After I saw the movie at this year’s Sundance, I heard a man say how this movie was impossible and that things like this don’t happen. Did you want the movie to get people thinking about the way that women and girls are not believed about their bodies? That’s interesting that he felt like it wasn’t plausible because it happens every day. I think the movie is very much for a young audience and it’s for men like that –– really pigheaded, conservative men that don’t believe or see the ways in which women are powerless. It’s ironic that he said that because the stepfather in the film says it’s in her head. She’s making it up. We see Autumn rail against her dad, we see her deal with her creepy boss, and then there’s a jerky boy she throws water at, but there’s no clear indication of who puts her in this position. Why did you decide to leave that a mystery? I wanted to give a feeling for her world, more than making a family drama. The story is really about the active crisis of her trying to get to New York to get to the abortion and not about her family life. I just wanted to give –– like a sketch –– understanding of all of the circumstances which could have led her to this moment, and I didn’t want to be so on the nose about why and how. Autumn doesn’t go through this alone. Her cousin comes along with her. When did you add that character to the story? When I was working on the film in 2013, the narrative I was largely exploring was a girl who was alone, and it didn’t work. When I picked up the film again in 2017, that was the first thing that I went back and realized wasn’t effective. I was really reflecting on my own youth. I grew up in Brooklyn, and I went to Planned Parenthood with friends all the time, not just for abortions, but because someone thought they were pregnant or somebody who’s worried they might have a yeast infection or a million reasons. I just remember taking the train over the Manhattan Bridge, for these unspoken journeys to Planned Parenthood with friends. How have other movies treated abortions in the past? Was there something you wanted to change in its depiction with your movie? I think mine has a very unique premise about the legal barriers. I didn’t see that movie. I’ve not seen that movie, and that’s why I wanted to tell that story. I think that there are films like Obvious Child that do a good job of normalizing and de-stigmatizing. Then there are films that explore the back-alley coathanger abortions like Dirty Dancing. There are a lot of different representations, and for me, what made me really want to make this film is that at the core it is about a journey. Autumn sings karaoke in new york in never rarely sometimes always In your previous film Beach Rats, there’s so much light filling shots of Coney Island. Here, there’s so much fluorescent lighting between Port Authority and the Planned Parenthood office. Was that intentional? Yeah, in thinking about the types of fights throughout the film, and the types of color, there’s definitely a shift. Planned Parenthood, their signature color is blue and everyone in New York wears black. So, those are colors that we didn’t want in Pennsylvania. It has a much more faded palette in Pennsylvania with pops of neon in the wardrobe and stuff, and that was specific. It has more natural light. Then as we come into the city, the lighting becomes more harsh, fluorescent and institutional. That was a progression that we charted early on. Within the last few years, there have been so many different crackdowns on abortion access. Did you feel a political push to say something about this? Yes, that was the intention, but I also didn’t want to make something that was overly political and overly didactic, and make something that felt like spinach, something that everybody needed to consume in order to understand the world. Really, my passion was for telling a character-driven story in the vein of everything that I’ve made and touched upon — political issues through an intimate lens.

Drama genres full never rarely sometimes always watch. Drama genres full never rarely sometimes always full movie. Drama genres full never rarely sometimes always trailer. Drama genres full never rarely sometimes always movie release date. Drama genres full Never Rarely Sometimes always happy. 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: 45 Coming soon Release date: Mar 13, 2020 Audience Score Ratings: Not yet available Never Rarely Sometimes Always Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. 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: 95 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.

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Drama genres full never rarely sometimes always 2020 trailer. Drama genres full Never Rarely Sometimes alwaysdata. Never Rarely Sometimes Read more there Never Rarely Sometimes Always English Full Online Never Rarely Sometimes english. Never Rarely Sometimes Always Online Hindi HBO 2018 Watch Online. | 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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