User Score
6.1

Generally favorable reviews- based on 80 Ratings

User score distribution:
  1. Positive: 48 out of 80
  2. Negative: 16 out of 80

Review this movie

  1. Your Score
    0 out of 10
    Rate this:
    • 10
    • 9
    • 8
    • 7
    • 6
    • 5
    • 4
    • 3
    • 2
    • 1
    • 0
    • 0
  1. Submit
  2. Check Spelling
  1. Jun 19, 2011
    9
    Simple, but all the more compelling for it. As always, beautifully scored and shot. Sofia captured the mundane aspects of a stars life when the camera is not pointed upon him initially in the film, but developed an enjoyable and rewarding narrative of the oft-forgotten moments where an actor, his daughter and Chris Pontius can enjoy some Rock Band and magic markers. Chris Pontius is a revelation. Expand
  2. Feb 4, 2012
    10
    Somewhere is an arthouse film that reminds us of great eras in smaller films, the Italian and French films of the 60s and even quite a few early 90s indie movies. Each shot and scene is put together with exquisite details and nice touches, it makes for a movie that can be seen more than once. Stephen Dorff plays an enigmatic, working cool actor shacked up in LA's Chateau Marmont hotel on the Sunset Strip. He bangs models, wannabe actresses and is a bit of a rocking guy. Emotionally empty and isolated, he finds solace in his 11 year old daughter played by a very talented Elle Fanning. The movie produces a great father and daughter relationship, tragic by design and circumstance, a love story that has nowhere to go. I really thought Dorff was an underrated, naturally cool and talented actor before. And Sofia Coppola creates a collage of memorable imagery, unusual sensitivity and an understated depth to Dorff that really shines. I liked this film more than Lost In Translation. The music is great too. Collapse
  3. Feb 17, 2011
    9
    This review contains spoilers, click expand to view. "She can't be at the table," warns the croupier, and goes on to inform Johnny Marco(Stephen Dorff) that his daughter needs to "step back", but the officious-sounding admonition which the casino employee delivers is only for appearance's sake, just a pretense of regulations being upheld, since he knows, and the actor knows, the girl too, as well as the complicitous onlookers who surround the big movie star throwing dice, and not minding one bit, that the bet abettor is enforcing a modified version of the house rules. Cleo(Ellie Fanning), who is only eleven-years-old, and by Las Vegas gaming standards, grossly underaged, shouldn't even be allowed to walk the floor, and yet, there she stands, without a shred of guilt or self-consciousness, taking her rightful place among the grown-ups, all because of who her father is: a celebrity, a somebody. To the girls' credit, she takes a step behind the shooter, her father, without protestation, without a break in her grin, because she's nice. This simple act of tactfulness redeems Cleo, even the dad(if you believe the old adage that the apple doesn't fall far from the tree), therefore making his ennui with stardom, and her abandonment issues, problematic situations both that the moviegoer can sympathize with, despite the rarefied air they breathe. Nobody really whines in "Somewhere", so don't hate them simply because of their economic status and skin color. Accused by some quarters of suffusing her frame with subject matter that conveys privilege and entitlement from an apologist's perspective, the filmmaker, undaunted and seemingly impervious to criticism, adheres herself to royalty once again, when she switches the period and venue from eighteenth century Versailles to twenty-first century Hollywood. To paraphrase the Austria-born queen who lost her head, "Let them eat ice cream," because Johnny and his daughter would much rather gorge on gelatto, which they order from room service in a swanky Italian hotel, and not just one type of the sweet frozen dessert, but all four flavors, a display of minor gluttony that faintly recalls the scene in "Marie Antoinette", where the queen and her consorts pig out on an endless assortment of pastries(and shoes). Although it seems innocent enough, Johnny gives his daughter a lesson in decadence; he teaches Cleo how to behave like a queen. As an adult, he needs to placate his appetite for more(fawning women, for starters), by exhibiting some self-control, at least while his daughter is visiting, which seems like an infrequent occurrence, at best. Cleo, so far, so good, shows no outward signs of corruption yet, but that doesn't mean the unformed girl is incorruptible. The longer she remains exposed to her degenerative father's ways(he invites a lady friend into their hotel room), the better the chances of boorish behavior, so maybe next time, should they be in the Nevada desert, maybe Cleo won't be so gracious about stepping back from the craps table. The fact that Marie Antoinette gambles during the film's birthday sequence, turns the Vegas scene into a bridge between the two movies, and sort of intimates that Cleo is halfway there to being a typical child of privilege. (Back at the Chateau Marmont, when she asks the help to carry the pitcher of orange juice into the kitchen, is she exercising her authority as the daughter of a star, or is the container simply too heavy for her?) Set in the United States, the left coast, nevertheless, it's as if "Somewhere" never left France, since the filmmaker employs a European approach to the filmic velocity of its content. The slowed-down approach, is, of course, highly ironic, considering the fast life that a Johnny Marco-like star leads. Like "Marie Antoinette", a film which depicted the monotony of court life all too convincingly, "Somewhere" is also rife with repetition, featuring countless shots of Johnny in some depressive form of solitary repose. In the final scene, Johnny leaves his black Ferrari on the side of the road, and proceeds to travel by foot. The moviegoer sees his feet. Now it's a little bit easier to walk in his shoes; now he's relatable, unlike the French queen, whom the filmmaker supposedly identifies with, according to her critics. These skeptics, however, overlook the fact that a Bow Wow Wow song like "I Want Candy" is proletarian(Jean-Phillipe Rameau's opera "Platee" is bourgeoisie), so in actuality, the new wave classic creates dissonance with the scene of debauchery that accompanies it. The poor allows the rich to appropriate their music as long as they're well-taken care of, but when the queen breaks this pact, they turn up at her balcony to take the Gang of Four back. The filmmaker is like Cleo. She's rich, but not a snob...yet. Expand
  4. Jan 27, 2011
    10
    If the following : (1)talking about acting and (2)talking about the logic of plot and setting - are your typical reactions after watching a film , I will bet that this is not the cup of tea for you.
  5. Aug 25, 2013
    9
    Stephen Dorff cuts a lonely and passive individual in 'Somewhere', playing an actor called Johnny Marco, a successful man in the business, but ten minutes into the film we realise the recluse and empty life that Johnny leads, pole dance after pole dance, party after party, he never seems to be mentally present in any of these situations to the point where it's noticeable that he finds nothing fulfilling or satisfying, something no amount of money, sex or drugs can fix. The only vice for his seemingly empty life is his eleven year-old daughter Cleo (Elle Fanning), who is in adversary left in the care of her father. Here we see the true talents of writer and director Sofia Coppola in full swing, she creates characters who instantly command your attention and who are full of intrigue, it's easy to get the impression that Cleo is aware of her fathers lifestyle, but loves him all the same, Johnny is a man who doesn't seem ungrateful for his life and success, but one who simply doesn't get the fulfilment that others would in the same field. He stays indefinitely at the popular Chateau Marmont, a place for the Hollywood bigwigs attempting to hideaway from the world.
    The intriguing elements of the film come from the character of Johnny, his routine life of answering the phone and doing as his agent tells him, talk to the press, pick up awards and have his face moulded, a scene which truly outlines this mans feelings, he sits in silence while the mould dries and breathes heavily, we don't need to see his face to know what is going on in his head.
    The film doesn't necessarily have a beginning, middle and end flow, it's told a sort of day in the life of scenario where we sit back and observe a lifestyle that is endless, but one devoid of anything meaningful, the only vice being blood.
    The title pertains to everything that we witness throughout the film, a man in between lifestyles, personalities and mental stability, he isn't anywhere concrete, therefore he is somewhere in between it all.
    Sofia Coppola has an intriguing and elegant style of filming, she puts on screen exactly what see wants us to see, and like her other masterful 'Lost In Translation', we have a similar character in Stephen Dorff to to Bill Murray, a man with everything but also cut away from life and letting it all pass him by.
    An excellent film that studies the meaning of family, personality, depression but mainly the need of human interaction and meaningful relationships, through the simplest of actions and time spent together.
    Expand
Metascore
67

Generally favorable reviews - based on 40 Critics

Critic score distribution:
  1. Positive: 27 out of 40
  2. Negative: 5 out of 40
  1. Reviewed by: Mike Scott
    Feb 25, 2011
    75
    Slowly becomes a thoughtful and interesting deconstruction and demythologizing of American celebrity.
  2. Reviewed by: Marc Savlov
    Jan 21, 2011
    40
    Oh, the ennui. In Somewhere, it's so thick you could cut it with Stephen Dorff's chiseled cheekbones.
  3. Reviewed by: Rene Rodriguez
    Jan 20, 2011
    88
    This is an intentionally fanciful, gossamer movie, extremely personal and heartfelt, influenced in equal parts by Michelangelo Antonioni (although never so elusive) and Gus Van Sant (just not quite so self-conscious).