User Score

Generally favorable reviews- based on 81 Ratings

User score distribution:
  1. Positive: 49 out of 81
  2. Negative: 16 out of 81

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  1. Feb 5, 2011
    Was surprised that I liked this movie so much. It was wonderfully subtle (at times, to the point of inertness), nuanced, and atmospheric--so unlike the typical Hollywood, overwrought, overly obvious melodrama. (Ironically, the movie captured Hollywood and LA better than most Hollywood and LA movies do.) Sometimes movies--or at least foreign movies--are about pictures (even lingering ones), moods, atmospherics rather than overscripted dialogue and plot development. The increasingly tender, albeit awkward father-daughter relationship between Johnny and Cleo, and the emptiness of Hollywood privilege--see Charlie Sheen--though not new, were effectively portrayed. Elle Fanning "natural" performance was lovely, and the poll dances by the two blond bunnies were just bad enough to be a complete trip. (Note: I apologiize that this review doesn't live up to the high standards of professionalism or articulateness of Ghostface's, but at least I don't make any defensive attributions about the state of or head positions of those who disagree with me.) Collapse
  2. May 8, 2011
    I found this love story between father and daughter lovely. There are no other films like the ones Sofia Coppola makes. I think this provides a great glimpse into the life of Hollywood. I read that while this film was not autobiographical, it pulled from certain aspects which felt genuine and sincere. You should know what you're getting in to when watching S. Coppola films - a slice of life with a great soundtrack. Expand
  3. Jun 19, 2011
    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
  4. Aug 11, 2011
    This is Hollywood without glamour. Ferrari lacks charm; Beverly Hills lacks charm; a movie star lacks charm. Sofia Coppola made a film that does not prime for beauty (lacks charm), as Marie Antoinette did, but which is dense in its criticism of the contemporary American cinema. The only spasm of enthusiasm comes, momentarily, when the protagonist is in Milan - indeed, there's La Dolce Vita. But in Hollywood one finds nothing except the emptiness of La Vida Loca. Expand
  5. Aug 11, 2011
    It's a good movie, despite a bit slow and, thus, boring. It questions the values of American cinema and even draws a comparison to European films. It's full of irony and some sharp criticism. It's not the most enjoyable film around, but it's quite pertinent and should incite reflection.
  6. Feb 4, 2012
    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. Expand
  7. Jan 26, 2013
    This is a mysterious film that begins with a fast car--somewhere--going nowhere. The slow start slice of life emphasizes the real feeling of the fast life--how it looks to others vs. the reality of its ordinariness and lack of connection. Like life, the movie gives the illusion it may be going somewhere and have a climax or a point of great accomplishment, but like a mirror to life it illustrates that the sense of your going somewhere is always an illusion and that, with nowhere really to go, in the end you have the passing of time and the people you care about and then it's the end. The movie holds a mirror to life and shows it as it is and how it feels for everyone. The point is that this is how it is whether you are famous or not. The fast cars, girls, money, fame, don't change the essential nature of life. The sense of needing and wanting to go somewhere, when really there is just here, and after all the running around, you are still just here. Right here. It's film as Zen. In the beginning of this movie, I thought what? And then I realized that this is what film and art should be--transformational in the sense of breaking the illusion that transformation is the goal or that moving forward is the goal. The purpose of life is to take time to feel it even though you know it doesn't go anywhere. It is enough to be somewhere. Expand
  8. Dec 30, 2010
    Sometimes empty is just empty. What Gertrude Stein said about Oakland can also apply to Somewhere: "There is no there there."Lliked Virgin Suicides and Lost in Translation (though it did not deserve an oscar...can we get that back please). I did not like Marie A - which seemed like a spread for 18th century Vogue. Though pretty sometimes, SOMEWHERE is an aggressively bad movie - save yourself the $15 ticket and buy an issue of Venice magazine and put your indie rock band of choice on your iPod and you will bâ Expand
  9. Feb 17, 2011
    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
  10. Jan 27, 2011
    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.
  11. Lyn
    Jun 4, 2011
    Johnny Marco's life has hit a dull, boring patch -- so much so that despite the fact that he's living the lush life at Chateau Marmont, I feel sorry for him. Gave this one an extra point for Elle Fanning's luminous performance, but felt that the film did not compare very well to the similar "Lost in Translation." Another disconnected celebrity, yes, and another aggravating ending, but Dorff's character simply is nowhere near as interesting as Bill Murray's was. Expand
  12. Jul 19, 2011
    The long still shots, of him doing nothing, are boring and complete fast forward material. Lots of hot girls and that's the most interesting thing about this story. Dudes life is so boring that I am not bored of this movie, and I am only 45 minutes into it.
  13. Apr 22, 2012
    Somewhere is an entertaining movie that features a lot of static camera work. It's beautiful to look at and survives with minimal plot or dialogue. It's wispy nature makes for a slight experience but that actually adds to the film's charm. One negative note to mention is that the whole movie is a retread of Lost In Translation. Stephen Dorff is Bill Murray and Scarlett Johansen is the daughter. It's a different kind of love but still the same premise. Somewhere is a good movie but not a great one. Expand
  14. Dec 29, 2010
    Lliked Virgin Suicides and Lost in Translation (though it did not deserve an oscar...can we get that back please). I did not like Marie A - which seemed like a spread for 18th century Vogue. Though pretty sometimes, SOMEWHERE is an aggressively bad movie - save yourself the $15 ticket and buy an issue of Venice magazine and put your indie rock band of choice on your iPod and you will be more entertained. Also, does S. Coppola have a perpetual hard-on for over-privileged people? Lost in Translation, Marie A and then Somewhere....what you have here is a off-putting pattern toward tilting the camera at the blase rich and just watching them whine their own special whine. Okay, we get it....she loved The Leopard. But redoing The Leopard set in Hollywood is not really all that interesting. Expand
  15. Jan 1, 2011
    maybe in the privileged world of the Coppola's the trials tribulations of a hollywood father might seem amusing, and maybe if he was remotely likeable. i really wanted to like the film, however i'd rather stick pins in my eyes than watch it again. not sure what the venice jury was thinking, black swan is a far superiour film.
  16. Jan 3, 2011
    Loved lost in translation, did not like marie antionette ( how could you?) but had high hopes for Somewhere after i saw it had won the golden lion and had gotten a glowing review in the times. and i must say, the Venice FIlm Festival and the New York Times, you have utterly disappointed me. whoever said this movie was good clearly just doesnt want to be the one to point out that this movie is awful and impossible to enjoy for fear that they may be thought of as too dumb to "understand" the film, when really the case is that there is nothing to understand because there is nothing in this film. no emotion, dialogue, character development. there is simply no way you can sit through this and enjoy yourself. i barely fought the urge to leave the theater myself. so for all of you bankrolling ms.coppola, (Francis im looking at you) PLEASE STOP. i simply cannot go through this again. when you lack the ability to write a linear story and simply film locations that are pretty, you are no longer a filmmaker, and it is no longer a film, and anyone who disagrees well they are just a poser and a snob and i suggest they take their bloated heads out of their buttocks. Expand
  17. Jan 6, 2011
    Boring. Sofia tried to use the silence to make you think about the character's life, but all she accomplished was to successfully make you sleep. And she's completely delusional if she thinks Stephen Dorff is a good actor. Sofia, darling, I have some news for you: he is not.
  18. Jan 14, 2011
    Long, long shots do not a masterpiece make. The movie is short on character, plot and dialogue, but long on pretension. It's very hard to care about the lead, although Elle Fanning was very good.
  19. Mar 13, 2011
    Thank God for fast forward. This movie lacks it all. Plot, first of all. Empathy for the protagonist. An editor. A compelling ending.

    There were scenes so insufferably long (putting on a mask) that I literally went to the bathrom, returned, and found the scene still going. What's the point? I get it, the guy has a somewhat empty life. But while he drives a Maserati and has every
    need attended to and obviously is at the top of his career, I was hard pressed to sympathize. The film could have been literally 1/10 as long and then made another movie with a plot.

    The only decent thing was Elle Fanning, who is quite credible and empathetic.

    Don't waste your time.
  20. Apr 26, 2011
    The only good thing about Somewhere was the irony of the title: This film was nowhere.

    We are invited into a star's empty existence. I get it. This particular look at such a life was drawn, prolonged agony. The main character may have been suffering emptiness, even depression, but in no way was the pain and suffering of that particular affliction even explored, let alone the character's
    inner experience. We are not invited to like him or dislike him, we remain ambiguous, which is story suicide. Character and story are one and the same. Watching this film I was frustrated, as I felt I was offered neither. Yes there were subtleties. Indeed there were beautiful shots. The settings were sound, the support cast middling to good, Dorf himself wasn't so bad considering he had so much silence to undertake. There was even artistic merit to the whole thing - I liked the idea! And that's what disappointed me the most - seeing that great idea, those characters, those settings and watching it go nowhere. There was no story. A European look at an American life, sure. However, did Johnny Marco change? We don't know. A classic American film might see him change somehow. A European tale might see him be invited to but not. Thus each side of the pond look at the human condition slightly differently, if you can excuse the generalisation. At no point is Johnny under any real pressure, though. And that is the problem and the reason why Johnny cannot change. Why should he? He's not being challenged. Neither, unfortunately, is the viewer. Expand
  21. May 28, 2011
    It will be hard to find a duller picture. Agonizingly long, silent scenes that only bad, self-important, independent films can produce (the opening is a car going in a circle for what seems to be 3-5 minutes; a scene watching the young girl figure skating for the duration of an entire song; and later a scene literally watching plaster dry). If you're interesting in watching a film star wallow in self-pity without much substance or story, this may be your film. Expand
  22. j30
    Sep 20, 2011
    Not the best movie in the world, but definitely not horrible. Stephen Dorff does a good job as a conflicted Hollywood star who re-examines his life when his daughter drops into his life. It's heartfelt and compelling in some of it's scenes and a bit too others.
  23. Nov 16, 2011
    This is boring and lifeless, is a very empty movie, i can't identify the point of the movie, only Elle Faning was ok, but really what is this movie about?
  24. Aug 25, 2013
    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.
  25. Dec 30, 2011
    This movie didn't have a plot. Very strange story, didn't happend something special. You really have to like this genre, long shots, much too long, really. It could have been a very cheap picture, but for some reason they had to chose ferrari's, mercedesses, and a chopper... The acting was great, and in someway, I really liked the cinematography. Elle Fanning is an up-comping talent - we'll see more from her in the future, guaranteed. About Stephen Dorff, well done playing a famous father, who takes care of his daughter and feels lonely. Somehow this movie touched me, with its simplicity. It shows that a movie doesn't always need a very interesting plot. Even though, I really dislike the 'long-long-long shot' thing, and maybe it could have been a less "boring" story, I think this film is worth a 5. It gives me mixed feelings. Expand
  26. Mar 19, 2014
    This is a really good, almost fantastic movie. After the first 15 minutes, it really comes into it's own and I loved it. Oddly, director Sofia Coppola chooses to shoot a few early scenes as they would play out in real time. That's not artistic really, it's just boring. Those scenes mainly fade into more subtle, silent character development as the movie progresses and it's amazing. Stephen Dorff and Elle Fanning were amazing. Overall, a really unique, quiet movie centered around two great performances. Expand

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
    Slowly becomes a thoughtful and interesting deconstruction and demythologizing of American celebrity.
  2. Reviewed by: Marc Savlov
    Jan 21, 2011
    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
    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).