Nowhere

Rape scene aside, Nowhere is stunningly beautiful to watch. There’s not one frame that hasn’t been intricately stylised. Araki brings his trilogy to a head in a bundle of celluloid confusion that encapsulates nihilistic teenage mentality and delivers an expressionistic banquet for your eyes to devour (and your brain to decipher). It’s a wild, enjoyable teenage riot. Read full review

Nowhere is Araki's most accomplished film yet, and if it never quite comes together, it's still a wildly entertaining film. Read full review

Take this picture literally and you're in trouble; better to view it as an allegory on youthful despair in which Araki deftly scores serious points without taking himself too seriously. Read full review

The third and final chapter in Araki's teen-angst-run-riot-in-L.A. triptych is as gorgeously messy as the first two opening salvos (Totally F***ed Up and The Doom Generation), but this time Araki employs a far broader and more complex character canvas than previously. Read full review

A vibrantly colorful, wildly nihilistic and lovingly perverse poem to America's beautiful, libidinous and doomed youth. Though not his best, Araki's sixth feature is without a doubt his most accessible, sensual and superficially entertaining movie to date. Read full review

In short, Nowhere needs more humor, more wildness. Its pandemonium is only on the surface - which could have been the premise of a really humorous take on teen chaos. But it doesn't push the envelope as much as Araki's previous films. Although it gives his pop sensibility a vigorous workout, Nowhere is Araki's Mallrats. [06 June 1997, p.D6]

For all the outlandish style and heaps of energy in Nowhere, Araki's most expensive and mainstream film, it can be reduced to one big pessimistic shriek. How do you spell Life is a bummer? Apparently, by never shutting up. [06 June 1997, p.32]

The truth is you can find more entertaining absurdities and thrilling nihilism from watching the average episode of Melrose Place or Beverly Hills, 90210 and, at least on those shows, they don't confuse dumb with doomed. [13 June 1997, p.C6]

If it weren't so overpopulated and desperate to shock, Nowhere might have succeeded as a maliciously cheery satire of Hollywood brats overdosing on the very concept of Hollywood. But the movie is so hectically paced that it doesn't have time to develop its characters or to flesh out the tales it sets in motion. Even comic books are better at telling stories. Read full review

A visual and aural overload that ultimately tires rather than conveys a feeling of f—-d up-ness. Read full review

Inferior teen drugs-drama, lacking depth and a point. Read full review

Director and enfant terrible-wannabe Gregg Araki winds up his Teen Apocalypse trilogy with this loud, ridiculous mess, and not a moment too soon. Read full review

As bad movies go, Gregg Araki's Nowhere is right up there with the best of them. Read full review

Teen nihilism of the cheapest kind, it's as pretentious as Jean-Luc Godard, as tacky as one of those Z grade turkeys by Ted V Miklas, and at least twice as boring as that sounds. Read full review

A disjointed and ugly film that has all the dramatic depth of a tractor pull. [06 June 1997, p.J]

The young people in Nowhere spend a lot of time worrying about the world coming to an end. Watching these sour characters abuse themselves and one another, the more immediate concern becomes: When is this movie going to end? Read full review