617 reviews
An atmospheric tale of revenge, and not the sequel for Drive
Critics have gone way too hard on this movie. Lots of violent, strange et slow films have been presented at the Cannes film festival since its creation but yet every time a film pushes the boundaries of violence while keeping its own style, most critics go mad and sometimes shout at the screening, even leaving the theater before the end and calling it "outrageous". This film, along with "Anti-Christ" is a perfect example of the type of scandals that go on at Cannes for quite stupid reasons.
First of all, forget about Drive. If you know Nicolas Winding Refn's style and like it then you'll enjoy this movie but if you've only seen Drive and believe this is going to be in the same style (because of the same actor, similar cinematography, same musical style...) believe me you'll be disappointed. The trailer might give this impression, but this film is very different. The director had already made other movies just like this, but they did not encounter a really large audience. His works were mostly known by cinephiles, artsy people and intellectuals interested in film analysis (in a general way of course). Drive was his first really big success and also his first film taking place in America, starring a worldwide known star (Gosling) and going deep into its message while keeping a more specific style than his other films.
Here Refn feels a lot more philosophical, and comes back to his original style in directing films such as Valhalla Rising : great visuals, slow-pasted action, scenes that seem a bit detached from one-another, deep character development, little dialogue, extreme violence mixed with soft and/or trance-electro music... all of which are here to deal with philosophical, deep, hard subjects like revenge, good and bad, mother/son relationship etc...
When it comes to the acting Gosling does not disappoints however this time Refn wanted to do the opposite that he did in Drive : showing the weakness of his character. Also, even though he does pull-off a very convincing performance, Kristin Scott Thomas is surprisingly captivating and gives her character a much more "real" dimension than it could have been (like it is most of the time, when a woman is supposed to play a drug-lord badass). But saving the best for the end, Vithaya Pansringarm, an actor totally unknown to me until know, plays wonderfully his role as the mystical bad guy, and really did surprise me by the quality of his acting. He completely understood the movie's atmosphere and makes his character feel mysterious and fascinating.
To sum-up this is a very atmospheric, deep movie with great actors/actresses and dealing with difficult and serious themes, with some philosophical analysis possible, but definitely not in the same style as Drive, even though it has some similarities with it.
First of all, forget about Drive. If you know Nicolas Winding Refn's style and like it then you'll enjoy this movie but if you've only seen Drive and believe this is going to be in the same style (because of the same actor, similar cinematography, same musical style...) believe me you'll be disappointed. The trailer might give this impression, but this film is very different. The director had already made other movies just like this, but they did not encounter a really large audience. His works were mostly known by cinephiles, artsy people and intellectuals interested in film analysis (in a general way of course). Drive was his first really big success and also his first film taking place in America, starring a worldwide known star (Gosling) and going deep into its message while keeping a more specific style than his other films.
Here Refn feels a lot more philosophical, and comes back to his original style in directing films such as Valhalla Rising : great visuals, slow-pasted action, scenes that seem a bit detached from one-another, deep character development, little dialogue, extreme violence mixed with soft and/or trance-electro music... all of which are here to deal with philosophical, deep, hard subjects like revenge, good and bad, mother/son relationship etc...
When it comes to the acting Gosling does not disappoints however this time Refn wanted to do the opposite that he did in Drive : showing the weakness of his character. Also, even though he does pull-off a very convincing performance, Kristin Scott Thomas is surprisingly captivating and gives her character a much more "real" dimension than it could have been (like it is most of the time, when a woman is supposed to play a drug-lord badass). But saving the best for the end, Vithaya Pansringarm, an actor totally unknown to me until know, plays wonderfully his role as the mystical bad guy, and really did surprise me by the quality of his acting. He completely understood the movie's atmosphere and makes his character feel mysterious and fascinating.
To sum-up this is a very atmospheric, deep movie with great actors/actresses and dealing with difficult and serious themes, with some philosophical analysis possible, but definitely not in the same style as Drive, even though it has some similarities with it.
Slow, so slow
If you've seen Drive, then you should know that this movie is nothing like it, except perhaps in the fact that they are both beautifully shot. Drive had a pretty brisk pace, good dialogue, a plot that went somewhere, and a likable character.
Only God Forgives had none of that. This is a movie which moves along at a snail's pace, and even at a runtime of 90 minutes, it feels like many hours go by before even a single thing happens. Even the characters move and turn slowly.
The plot, such as it is, you would probably find worth watching, but Nicolas Winding Refn peppers it with pseudo-dream sequences and many pointless scenes that drag on for ever, so that the plot becomes hard to stay interested in.
Now, some things you might care about.
The acting. Ryan Gosling, of whom I was a fan in his earlier days, plays the same character from Drive, except that here he is indeed even more emotionless. He speaks about 5 lines during the whole movie, and has fewer different facial expressions. Kristin Scott Thomas is very good, although she feels underused. She is definitely the strong point of this movie. Vithaya Pansringarm, who plays a prominent role in the movie, is as expressionless as Gosling, although he is somewhat better, in my opinion.
Action scenes do exist, and they do resemble those from Drive, in that they are very matter-of-factly and visceral. Here, Winding Refn has really indulged in a lot of gratuitous gore, although overall, I found the action scenes quite entertaining. One particular one showcases Byron Gibson's acting talents, and it is particularly (and hilariously) cringe-worthy.
All the characters in this movie are unlikable. It is extremely difficult to get yourself to care for any of them, including Gosling's, who is arguably the protagonist here.
Aside from Scott Thomas' acting, the only other redeeming quality of this film is the excellent way in which most scenes are set up and shot. The sets, the camera movement, the placement of the actors, all of these make up for some truly gorgeous shots.
Overall, sad as I am to say it, I cannot recommend seeing Only God Forgives.
Only God Forgives had none of that. This is a movie which moves along at a snail's pace, and even at a runtime of 90 minutes, it feels like many hours go by before even a single thing happens. Even the characters move and turn slowly.
The plot, such as it is, you would probably find worth watching, but Nicolas Winding Refn peppers it with pseudo-dream sequences and many pointless scenes that drag on for ever, so that the plot becomes hard to stay interested in.
Now, some things you might care about.
The acting. Ryan Gosling, of whom I was a fan in his earlier days, plays the same character from Drive, except that here he is indeed even more emotionless. He speaks about 5 lines during the whole movie, and has fewer different facial expressions. Kristin Scott Thomas is very good, although she feels underused. She is definitely the strong point of this movie. Vithaya Pansringarm, who plays a prominent role in the movie, is as expressionless as Gosling, although he is somewhat better, in my opinion.
Action scenes do exist, and they do resemble those from Drive, in that they are very matter-of-factly and visceral. Here, Winding Refn has really indulged in a lot of gratuitous gore, although overall, I found the action scenes quite entertaining. One particular one showcases Byron Gibson's acting talents, and it is particularly (and hilariously) cringe-worthy.
All the characters in this movie are unlikable. It is extremely difficult to get yourself to care for any of them, including Gosling's, who is arguably the protagonist here.
Aside from Scott Thomas' acting, the only other redeeming quality of this film is the excellent way in which most scenes are set up and shot. The sets, the camera movement, the placement of the actors, all of these make up for some truly gorgeous shots.
Overall, sad as I am to say it, I cannot recommend seeing Only God Forgives.
Amazing work on a ridiculously bad story,,,
A clinical study on perversion
- FrostyChud
- May 23, 2013
- Permalink
Artistic Revenge
I don't understand the general dislike for this film. Yeah, I heard all the reviews and admittedly, the reviews turned me away from the initial release. It didn't help it was only in my town for a week. Either way.... I low key love this film.
I love the color palate. I love the pace. I love how it creates a world completely alien to the one I live in. While the story is very basic, it is visceral. You understand how Kristin Scott Thomas commands so much fear. You understand how Julian does not want to be like her. You understand how Chang prefers to work outside the confines of law and order with his own brand of justified punishment. The motives are clear, and while the older brother Billy is way too cartoony evil, we had to quickly establish the central conflict.
The thing about such a film is this...where does art end and pretentiousness begin? I think a lot of people interpreted this more for the latter than the former, wanting a dull Tarantino style revenge epic with tons of swearing and pretentious pop culture dialogue. What they got was a neon bathed slow burn, and it worked so much better. In the end, we see why it would happen that way. Chang is brutal and even caustic, but he is fair in the dog eat dog world of the drug dealing underclass. And boy, did that ending seem satisfying.
Those who have not seen a lot of film from multiple eras and styles of film making might not get this type of feature, but that is okay. For those who know high concept, low plot type film making, this one is for you.
I love the color palate. I love the pace. I love how it creates a world completely alien to the one I live in. While the story is very basic, it is visceral. You understand how Kristin Scott Thomas commands so much fear. You understand how Julian does not want to be like her. You understand how Chang prefers to work outside the confines of law and order with his own brand of justified punishment. The motives are clear, and while the older brother Billy is way too cartoony evil, we had to quickly establish the central conflict.
The thing about such a film is this...where does art end and pretentiousness begin? I think a lot of people interpreted this more for the latter than the former, wanting a dull Tarantino style revenge epic with tons of swearing and pretentious pop culture dialogue. What they got was a neon bathed slow burn, and it worked so much better. In the end, we see why it would happen that way. Chang is brutal and even caustic, but he is fair in the dog eat dog world of the drug dealing underclass. And boy, did that ending seem satisfying.
Those who have not seen a lot of film from multiple eras and styles of film making might not get this type of feature, but that is okay. For those who know high concept, low plot type film making, this one is for you.
People will find meaning anything
I typically like Refn, but this was just disappointing. The plot line is fundamentally a banal revenge tale, cinematography as always is amazing but thats just not enough to save this.
To respond to the positive reviews i'm seeing: How?
Symbology? Where? Nothing happens in this. You get presented with basic characters that have a potentially interesting dynamic, which is explored with... long surreal scenes in which the characters just stare at each other? Its sad how people won't call out a movie just because they believe that lauding a film that the "simple plebs" have rated negatively will make them seem like a connoisseur or ahead of the flock.
To end this: it feels like Refn tried to avoid making a mindless flick by leaving blanks for the viewer to fill in. Problem is, when 90% of the movie is a blank for the audience to fill in, the result it something that just feels plain lazy more than anything else.
- AlexWinterr
- May 15, 2020
- Permalink
Visually Stunnnig,but it lacks something of major importance.
ONLY GOD FORGIVES is a film that is visually stunning with it's use of colours, location etc. But it lacks something of major importance, CAHRACTERS; Julian, a metaphor, Chang, a metaphor, Crystal, a metaphor. If Nicolas Winding Refn actually invested more of his time to developing these characters and not just have the characters as cardboard cut-outs waiting to be distinguished and worked out by the above-average film viewer.
On the other hand though the films profound and personal meaning mixed with the unforgettable, talented visuals outweigh the bad side of the film which I'm sure the art-house fan will look over the bad side considering that artistic films nowadays e.g. Under the Skin rarely have developed characters that feel and care for unlike the past art-house films in the 50, 60s, 70 were in it's prime e.g. like Wild Strawberries, Blow-Up, Peeping Tom, Eraserhead and 8 1/2
On the other hand though the films profound and personal meaning mixed with the unforgettable, talented visuals outweigh the bad side of the film which I'm sure the art-house fan will look over the bad side considering that artistic films nowadays e.g. Under the Skin rarely have developed characters that feel and care for unlike the past art-house films in the 50, 60s, 70 were in it's prime e.g. like Wild Strawberries, Blow-Up, Peeping Tom, Eraserhead and 8 1/2
Quite possibly the most tedious revenge movie ever made.
Drive, the previous movie from director Nicholas Winding Refn and actor Ryan Gosling, utilised a deliberate and rather stilted style that not only resulted in a unique air of cool but which also had the effect of making the movie's explosive scenes of violence more impactful. In Only God Forgives, Refn and Gosling repeat this sparing, slow-burn technique, but take it to the nth degree; this time around the effect is to completely bore the crap out of the viewer.
Quite simply, Only God forgives has got to be one of the most excruciating exercises in cinema it has ever been my misfortune to witness. Every pan, track or zoom is agonisingly drawn out, the camera movement often being almost imperceptible. A good percentage of scenes comprise of corridors, or people not moving, or people moving very slowly, or karaoke performances (slow songs, of course). Virtually every scene is lit in either red or blue, which gets extremely irritating. Gosling's brooding expression remains the same throughout the entire film. Conversations take an age to unfold. Minutes seem like hours. Hours seem like days. Time eventually loses all meaning.
Even the film's few scenes of brutal violence are shot in such a way as to render them totally boring.
Art-house types will love the film (or at least pretend to), finding hidden meaning and symbolism in its languorous plot and mind-bogglingly dull execution, but most right-minded people will quite rightly dismiss this for the utter garbage that it is.
Quite simply, Only God forgives has got to be one of the most excruciating exercises in cinema it has ever been my misfortune to witness. Every pan, track or zoom is agonisingly drawn out, the camera movement often being almost imperceptible. A good percentage of scenes comprise of corridors, or people not moving, or people moving very slowly, or karaoke performances (slow songs, of course). Virtually every scene is lit in either red or blue, which gets extremely irritating. Gosling's brooding expression remains the same throughout the entire film. Conversations take an age to unfold. Minutes seem like hours. Hours seem like days. Time eventually loses all meaning.
Even the film's few scenes of brutal violence are shot in such a way as to render them totally boring.
Art-house types will love the film (or at least pretend to), finding hidden meaning and symbolism in its languorous plot and mind-bogglingly dull execution, but most right-minded people will quite rightly dismiss this for the utter garbage that it is.
- BA_Harrison
- May 31, 2014
- Permalink
unique
I was expecting something more shocking. Don't get me wrong. This is violent and misogyny at it worst. But we've seen it all before. Especially the worldly movie reviewers that are so eager to give it a zero. If anything, it's the minimalist acting that's unique here. And not just the limited dialog but it's the movement. They don't even move that much.
The minimalist acting, the over saturation of color red, the grotesque violence, the misogyny, all of it adds to a unique feel unlike anything I've seen before. Even with all its oddness, it was compelling and mesmerizing. This is like nothing I've ever seen before and that's worth something to me.
The minimalist acting, the over saturation of color red, the grotesque violence, the misogyny, all of it adds to a unique feel unlike anything I've seen before. Even with all its oddness, it was compelling and mesmerizing. This is like nothing I've ever seen before and that's worth something to me.
- SnoopyStyle
- Aug 18, 2013
- Permalink
Ambitious one...
After Drive, i was very curious to see what he was doing next.
This movie was fairly ambitious in its own ways, visually is a stunning mix of colors and beautiful composed shots, which elevates the whole mood of the movie. The story itself is a fairly simple one, however it is told in a way in which depended heavily on the actors performance, and this is were the movie fails. the way some of the actors fail to act the parts almost like shadows of themselves, sometimes overacting and being too much aware of the camera detracts from Nicolas intentions. Gosling is good here, so is Kristin Scott Thomas, the rest of the cast is hit or miss in some scenes. The overall surreal way of telling this story could've worked a lot better if they had solved those issues. I liked the subtext behind the whole relationship between Chang (who in is own ways has a twisted God complex) and Julian's character.
In the end it makes me a little sad, i think with a little more time put into working with the actors, it could've elevated the movie to another level, also without spoiling anything, i think the out of the box scenes could've been pushed a little more!! 7 out of 10!!
This movie was fairly ambitious in its own ways, visually is a stunning mix of colors and beautiful composed shots, which elevates the whole mood of the movie. The story itself is a fairly simple one, however it is told in a way in which depended heavily on the actors performance, and this is were the movie fails. the way some of the actors fail to act the parts almost like shadows of themselves, sometimes overacting and being too much aware of the camera detracts from Nicolas intentions. Gosling is good here, so is Kristin Scott Thomas, the rest of the cast is hit or miss in some scenes. The overall surreal way of telling this story could've worked a lot better if they had solved those issues. I liked the subtext behind the whole relationship between Chang (who in is own ways has a twisted God complex) and Julian's character.
In the end it makes me a little sad, i think with a little more time put into working with the actors, it could've elevated the movie to another level, also without spoiling anything, i think the out of the box scenes could've been pushed a little more!! 7 out of 10!!
- renatofernandesz1
- Jul 27, 2013
- Permalink
Great style, crap everything else
- evan_harvey
- Jul 17, 2013
- Permalink
People are missing the point
It's a shame that people seem to be missing the point behind this film. However, on one's first sitting, it's easily done - Refn's style and pace may fool you into thinking this is a dull, slow film. The long, seemingly unending shots of actors staring into the distance may make you question Mat Newman's (the editor) talent. But what you really need to do is to look deeper into the film, because behind the extreme violence, the beautiful cinematography & production design and questionable reality, there is an interesting message. That message really depends on how you interpret the film, and differentiates from person to person.
For instance, Vithaya Pansringarm's character can be perceived in a variety of ways - a silent angel out to balance the injustices of his city, a delusional man who thinks of himself as God, or a vengeful cop who is simply out to do his job. Ryan Gosling's Julian can be seen as a confused soul who is out to avenge someone he clearly despised, someone who is bullied into action by his persuasive mother. Kristen Scott Thomas's excellent portrayal of Crystal, Julian's thoroughly unpleasant mother, acts as a wedge between the two of them. And the motives of each of these characters are questionable throughout.
It's certain that Refn's ninth feature film is not a simple crime drama as you might have expected. Its twists and turns will almost certainly surprise you, and it will linger on your mind long after the credits roll. It makes you question what was real and what was not in a way I've never seen in cinema before. And it really is a shame that a lot of people seem to completely miss the brilliance and genius behind it.
For instance, Vithaya Pansringarm's character can be perceived in a variety of ways - a silent angel out to balance the injustices of his city, a delusional man who thinks of himself as God, or a vengeful cop who is simply out to do his job. Ryan Gosling's Julian can be seen as a confused soul who is out to avenge someone he clearly despised, someone who is bullied into action by his persuasive mother. Kristen Scott Thomas's excellent portrayal of Crystal, Julian's thoroughly unpleasant mother, acts as a wedge between the two of them. And the motives of each of these characters are questionable throughout.
It's certain that Refn's ninth feature film is not a simple crime drama as you might have expected. Its twists and turns will almost certainly surprise you, and it will linger on your mind long after the credits roll. It makes you question what was real and what was not in a way I've never seen in cinema before. And it really is a shame that a lot of people seem to completely miss the brilliance and genius behind it.
The plot is not really there
"Only God Forgives" is a dark, serious and ultra-violent movie. It weighs in on Asian symbolism, spiritualism and response to revenge or own hand rights. It flows more like a music video than actual movie (even though it does not have fast cuts). That description also fits "Drive" but whereas that movie gained critical acclaim, this one has had way more split response and it's easy to see why.
Considering that even with star Ryan Gosling, "Only God Forgives" is to be considered a sub-genre movie and indie release, I can predict many people go to see it because of the previous (director & lead star) collaboration "Drive". I, like many others marching into movie theater to see it, had high hopes after Drive. I jokingly said that this is "Drive II". Well, it's not.
Director Nicolas Winding Refn has leaned towards heavy symbolism here, and unfortunately at the cost of plot where one considers how movies should have even a some kind of structure and character development. I had the impression after the movie that tackling the symbolism the writer/director probably thought he had invested more to his characters than he actually has. Gosling is the less spoken man like in the predecessor Drive, but without any likability. The "heroism" of the Drive main character could have been argued on but in this case there are no heroes or good guys in the movie. Just a self made perception of each religious or other view.
Some reviews said that the movie is style of substance but again (sorry) I need to reference to Drive and question even the style. It had couple of really nice shots and scenes with unique atmoshpere but I found it lacked the coolness. Also the stylisticity (is it a word?) of some the gore scenes only show of a bad taste. In my opinion you're either full on splatter or you're on the other end of the scale, not something in between.
This type of story would have been more powerful with some kind of invested emotion. I did not feel about anything when watching this movie. That is what separates if from it's predecessor and also other great movies. Now it's barely good.
I am afraid Nicolas Winding Refn have taken a step back here, although I am also pretty sure he does not entertain a thought of mainstream acclaim -that much we've seen from the previous movies. I hope he takes a sidestep for his next movie, and tries something different because he really is talented and an INDIVIDUAL director.
Considering that even with star Ryan Gosling, "Only God Forgives" is to be considered a sub-genre movie and indie release, I can predict many people go to see it because of the previous (director & lead star) collaboration "Drive". I, like many others marching into movie theater to see it, had high hopes after Drive. I jokingly said that this is "Drive II". Well, it's not.
Director Nicolas Winding Refn has leaned towards heavy symbolism here, and unfortunately at the cost of plot where one considers how movies should have even a some kind of structure and character development. I had the impression after the movie that tackling the symbolism the writer/director probably thought he had invested more to his characters than he actually has. Gosling is the less spoken man like in the predecessor Drive, but without any likability. The "heroism" of the Drive main character could have been argued on but in this case there are no heroes or good guys in the movie. Just a self made perception of each religious or other view.
Some reviews said that the movie is style of substance but again (sorry) I need to reference to Drive and question even the style. It had couple of really nice shots and scenes with unique atmoshpere but I found it lacked the coolness. Also the stylisticity (is it a word?) of some the gore scenes only show of a bad taste. In my opinion you're either full on splatter or you're on the other end of the scale, not something in between.
This type of story would have been more powerful with some kind of invested emotion. I did not feel about anything when watching this movie. That is what separates if from it's predecessor and also other great movies. Now it's barely good.
I am afraid Nicolas Winding Refn have taken a step back here, although I am also pretty sure he does not entertain a thought of mainstream acclaim -that much we've seen from the previous movies. I hope he takes a sidestep for his next movie, and tries something different because he really is talented and an INDIVIDUAL director.
A missed opportunity.
Danish auteur Nicolas Winding Refn's first Hollywood picture Drive is one of the best films of the millennium, hands down. His Thailand-set revenge saga feels like a natural extension of that masterpiece, albeit a very boring and pretentious one. Where Drive was slow-burning and enrapturing, OGF is slow and uninteresting; where Ryan Gosling's Driver was charismatic and compelling, his drug-dealing enigma here is dull and vacuous; Drive's violence was impactful and meaningful, the brutality in this is nasty and pointless. There are, however, two shining lights that save this from being completely unwatchable. The neon-lit cinematography is simply stunning and quite often disguises the senselessness of what is actually going on, whilst the ballsy performance from Kristen Scott Thomas as Gosling's reprehensible white-trash mother is a terrific display of her versatility and deserving of a much better movie. A missed opportunity that suggests Refn is a hit and miss prospect.
- Troy_Campbell
- Jul 18, 2013
- Permalink
The Future Will Forgive
An absolute masterpiece. My favorite movie of all time.
Probably only in 30 years will the world fully appreciate it and recognize how far ahead in time it was.
- jonitasalways
- Jan 11, 2021
- Permalink
This film is pure style
Basically, there are two kinds of films. Firstly, there are genre-pictures, using established cinematographic conventions, trying to please the audience. They may be good or bad, but are never shocking, disturbing or ground-breaking. Secondly, there are films ignoring conventions, and deliberately keeping distance from mainstream movie-making. Their aim is not necessarily to entertain, but rather to provoke, to shock or to disturb. They may be good or bad, but they don't leave the audience indifferent.
Clearly, 'Only God Forgives' belongs to the latter group. The quality of this film is not about the plot twists, the character developments or the witty dialogue. There aren't any. This film is pure style. The only thing that matters is cinematography and atmosphere. And there's a lot of that.
The film is set in Bangkok, which is shown as a dimly lit cityscape full of violent characters without any moral feeling. There's almost no daylight in the film, and neither any emotion. A senseless killing sets in motion a series of extremely violent acts. These are shown in settings full of contrasts - the most memorable and most violent scene takes place in a karaoke bar full of young women, watching the bloody proceedings in a state of pure indifference.
The film sometimes is very slow. But this, and the very effective soundtrack, adds to the sinister atmosphere. One great scene shows a sort of garden, with a man and a young boy sitting in a corner. Very slowly, the camera moves towards them, while the music indicates something creepy is about to happen. You keep looking out for the danger that is supposed to be hiding in a corner, but then the film cuts and the camera angle reverses 180 degrees, so that the audience sees what the man and the boy see: an army of corrupt cops, with the most sadistic one in the front row.
In this film, the acting is not about showing emotions, but rather about hiding them. An easy job for Ryan Gosling, who only has to show a poker face and act cool. It's Kristin Scott-Thomas who's stealing the show in this film. Her role is miles away from the British stiff-upper-lipped parts or the French character roles she is most famous for. She plays a super vulgar woman without any conscience, and she does it so well that I doubt if I would have recognized her if I wouldn't have known she was in the cast.
The thing that struck me most about this film is how Asian it seems to be. Not only the emotionless acting and the stylish cinematography, but also the extreme, almost sadistic violence is something you wouldn't expect from a Danish director. He himself seems indeed to emphasize this, by using Thai characters for the opening and end credits.
Clearly, 'Only God Forgives' belongs to the latter group. The quality of this film is not about the plot twists, the character developments or the witty dialogue. There aren't any. This film is pure style. The only thing that matters is cinematography and atmosphere. And there's a lot of that.
The film is set in Bangkok, which is shown as a dimly lit cityscape full of violent characters without any moral feeling. There's almost no daylight in the film, and neither any emotion. A senseless killing sets in motion a series of extremely violent acts. These are shown in settings full of contrasts - the most memorable and most violent scene takes place in a karaoke bar full of young women, watching the bloody proceedings in a state of pure indifference.
The film sometimes is very slow. But this, and the very effective soundtrack, adds to the sinister atmosphere. One great scene shows a sort of garden, with a man and a young boy sitting in a corner. Very slowly, the camera moves towards them, while the music indicates something creepy is about to happen. You keep looking out for the danger that is supposed to be hiding in a corner, but then the film cuts and the camera angle reverses 180 degrees, so that the audience sees what the man and the boy see: an army of corrupt cops, with the most sadistic one in the front row.
In this film, the acting is not about showing emotions, but rather about hiding them. An easy job for Ryan Gosling, who only has to show a poker face and act cool. It's Kristin Scott-Thomas who's stealing the show in this film. Her role is miles away from the British stiff-upper-lipped parts or the French character roles she is most famous for. She plays a super vulgar woman without any conscience, and she does it so well that I doubt if I would have recognized her if I wouldn't have known she was in the cast.
The thing that struck me most about this film is how Asian it seems to be. Not only the emotionless acting and the stylish cinematography, but also the extreme, almost sadistic violence is something you wouldn't expect from a Danish director. He himself seems indeed to emphasize this, by using Thai characters for the opening and end credits.
Don't actually spend money on this. Please.
- DumondBatman
- Jun 4, 2013
- Permalink
Refn refuses to rehash himself.
Pretentious
- melisakurtay
- Jul 7, 2013
- Permalink
Lynchian Bangkok
Those giving this movie 1/10 are saying far more about their own absolute ignorance of film and extreme immaturity than they are about this movie. I don't expect everyone to like this film - it is certainly not for fans of Hollywood blockbusters and those who start their reviews with statements similar to 'I went to see this movie because I like Ryan Gosling/Kristin Scott Thomas' render all further comments null and void - their opinions are simply worthless and cannot be taken seriously.
The cinematography is excellent and the acting superb. Those complaining of Gosling's lack of animation are completely missing the point that his character is empty and completely subjugated beneath the force of his mother. This movie is full of symbolism, psychology and philosophy and every shot and sequence masterfully executes the portrayal and exploration of these themes. Distinct allusions to David Lynch are apparent but these do not come off as derivative but rather as homage.
If you like Hollywood blockbusters or Rom-Coms stay away from this movie and don't bother deriding this movie due to your own lack of mature and critical thinking. On the other hand, if you appreciate excellent cinematography and exploring deeper themes of the unconscious, however dark they may be, do not be put off by the extremism of those giving this movie 1/10 and go and decide for yourself.
The cinematography is excellent and the acting superb. Those complaining of Gosling's lack of animation are completely missing the point that his character is empty and completely subjugated beneath the force of his mother. This movie is full of symbolism, psychology and philosophy and every shot and sequence masterfully executes the portrayal and exploration of these themes. Distinct allusions to David Lynch are apparent but these do not come off as derivative but rather as homage.
If you like Hollywood blockbusters or Rom-Coms stay away from this movie and don't bother deriding this movie due to your own lack of mature and critical thinking. On the other hand, if you appreciate excellent cinematography and exploring deeper themes of the unconscious, however dark they may be, do not be put off by the extremism of those giving this movie 1/10 and go and decide for yourself.
Requires work by the viewer - which is not so bad a thing
Other reviewers have done a better job than I could. In all truth - i think I really have to see the film again. It's a movie that will offer up levels, after review( I think...maybe) At times I was thinking: Tarkovsky.
- iranu-74195
- Jan 21, 2021
- Permalink
pointless, boring and just plain bad.
- shoutatthesky
- Jul 19, 2013
- Permalink
Depending on what you look for in a film you could either consider to be an artwork or a let down
I went into the movie theater looking forward to this film. Expecting something along the likes of Drive, which was a great cinematic experience in my opinion, I got to see something which had similarities in execution and style but turned out to be a very different movie from the latter.
Without saying too much I will say that this will be one of the weirdest movie experiences you will ever get. It has the same type of artwork that made Drive such a great accomplishment but it takes it a little further. This is done to a point where you can either choose to relate to its ruthlessness and brutality ( it is an extremely violent film) or discard it for it. The setting and scenes are played out beautifully but the pacing feels off as it builds up really slow and never gains pace throughout the showing. At times you feel like you are witnessing scenes from a wonderfully shot masterpiece, yet the next moment it can be as if these scenes add up to nothing substantial. To me it feels as if the director has been overly ambitious and at particular moments he managed to make it work but overall it doesn't hit home. It tries so hard to be memorable and refreshing that at times it turns into a parody of itself.
This being said I still enjoyed it for what it was and though the brutality and violence won't be for anyone to be appreciated ( it gets very raunchy)it's an experience I'm glad I did not miss out on. Some other people in the theater where less forgiving ( no pun intended) and left it running for the exit. It's not as accessible as you would want it to be, and it's not as great as it feels it could have been but if you want to watch a film you won't be able to wrap your head around entirely for the next few days I'd say: give it a shot. You might find it worth your while. I certainly found it to be so. A decent piece of artwork or a let down? Depending on what you look for in a film you can only consider it to be one or the other.
Without saying too much I will say that this will be one of the weirdest movie experiences you will ever get. It has the same type of artwork that made Drive such a great accomplishment but it takes it a little further. This is done to a point where you can either choose to relate to its ruthlessness and brutality ( it is an extremely violent film) or discard it for it. The setting and scenes are played out beautifully but the pacing feels off as it builds up really slow and never gains pace throughout the showing. At times you feel like you are witnessing scenes from a wonderfully shot masterpiece, yet the next moment it can be as if these scenes add up to nothing substantial. To me it feels as if the director has been overly ambitious and at particular moments he managed to make it work but overall it doesn't hit home. It tries so hard to be memorable and refreshing that at times it turns into a parody of itself.
This being said I still enjoyed it for what it was and though the brutality and violence won't be for anyone to be appreciated ( it gets very raunchy)it's an experience I'm glad I did not miss out on. Some other people in the theater where less forgiving ( no pun intended) and left it running for the exit. It's not as accessible as you would want it to be, and it's not as great as it feels it could have been but if you want to watch a film you won't be able to wrap your head around entirely for the next few days I'd say: give it a shot. You might find it worth your while. I certainly found it to be so. A decent piece of artwork or a let down? Depending on what you look for in a film you can only consider it to be one or the other.
- dme3-624-956960
- May 23, 2013
- Permalink
Constantly enthralling, even if it's light on straight-forward narrative
"Time to meet the devil," Tom Burke's Billy utters to Julian, played by Ryan Gosling, early on in the film. Who, or what, is the devil that Billy is referring to? Is Billy talking about himself who will be meeting this devil, or is Bill telling Julian that Julian will be the one meeting the devil? Those questions, and more, are all thought provoking sentiments that "Only God Forgives" poses, and leaves it up to viewers to answer.
"Only God Forgives" is Nicolas Winding Refn's follow up to "Drive" - no doubt even more polarizing than that film. Taking the stoic, quiet performances and ultra violence from the previous movie and amplifying it past a level that mainstream audiences would have been comfortable with, it's not a surprise that "Only God Forgives" was booed at Cannes. It's also not a surprise that it was applauded. "Only God Forgives" offers a slow but briskly paced story that revels in its minimalism, the beauty lying in the fact that its viewer gets to decide for themselves what everything means.
There are many interpretations of this movie out there, and practically all of them I disagree with. And that's okay, because this movie wants you to watch it intently, digest every scene, ever frame, and ponder on what you're seeing. Some may call this film pretentious, and I'd be lying if I said it wasn't. On the other hand, it's purposefully obtuse nature calls for endless rewatchability, meaning you'll pick up on something new with every viewing.
As is usual with the films of Nicolas Winding Refn, "Only God Forgives" looks and sounds incredible - gone are the brightly lit and cheery, upbeat pop songs of "Drive," instead replaced by a deep, dark synth soundtrack that goes wonderfully with the equally as dark setting. Bright neon reds and blues light up the screen, casting everything in an unsettling, ethereal glow. It sounds great, and looks even better, which makes for a fittingly hypnotizing experience. Long stretches without dialogue that would be boring in any other film are enthralling because of the show this movie gives your eyes and ears. However, that's not to say that the visuals and soundtrack are the only things this movie has going for it.
From the jump, "Only God Forgives" feels uncomfortable - perhaps because of its surreal setting, or its ominous soundtrack - in my eyes, however, it is because of its plot. A classic revenge story, at least on paper, this film subverts expectations and ups the stakes by making its lead character unwilling to take revenge, an understandable choice when you come to see the events that set the plot in motion unfold. This unique eye-for-an-eye tale gets flipped on its head, which may upset, or enthrall, viewers. I found this change of pace welcome, as it opened the door to many unpredictable scenarios and meaningful character building, practically all done through Refn's signature slow and steady style.
Yes, Ryan Gosling once again plays a quiet hero (or perhaps, anti-hero) who stays stoic for the majority of the running time. But if you pay attention, there is real and tangible character development taking place - as there is plot momentum. Just because this movie is slow and quiet doesn't mean things aren't happening to move the story forward. There is a story that's being told here; it is small-scale and minimalistic, but a story nevertheless. It will ultimately be up to you whether you not only enjoy the story but the way it is told; it goes without saying that this isn't a film for everyone.
Packed with mean dialogue, over the top violence, and lurid scenarios, "Only God Forgives" will be sure to send shivers down the spine of even the most hardened film fans. I still feel uncomfortable watching the beginning of this movie. However, it's style, sound, and story all come together in a way that's unlike any other action-thriller. This isn't a perfect movie - I wish Refn would've harnessed the plot a bit more and tightened it up, as he does in "Drive" and "The Neon Demon," both films where he enhances the plot with his surrealistic style, in comparison to this movie where he seems to use the plot as an excuse for surrealistic images. Regardless, for a pure cinematic experience in sight and sound, "Only God Forgives" delivers in spades.
"Only God Forgives" is Nicolas Winding Refn's follow up to "Drive" - no doubt even more polarizing than that film. Taking the stoic, quiet performances and ultra violence from the previous movie and amplifying it past a level that mainstream audiences would have been comfortable with, it's not a surprise that "Only God Forgives" was booed at Cannes. It's also not a surprise that it was applauded. "Only God Forgives" offers a slow but briskly paced story that revels in its minimalism, the beauty lying in the fact that its viewer gets to decide for themselves what everything means.
There are many interpretations of this movie out there, and practically all of them I disagree with. And that's okay, because this movie wants you to watch it intently, digest every scene, ever frame, and ponder on what you're seeing. Some may call this film pretentious, and I'd be lying if I said it wasn't. On the other hand, it's purposefully obtuse nature calls for endless rewatchability, meaning you'll pick up on something new with every viewing.
As is usual with the films of Nicolas Winding Refn, "Only God Forgives" looks and sounds incredible - gone are the brightly lit and cheery, upbeat pop songs of "Drive," instead replaced by a deep, dark synth soundtrack that goes wonderfully with the equally as dark setting. Bright neon reds and blues light up the screen, casting everything in an unsettling, ethereal glow. It sounds great, and looks even better, which makes for a fittingly hypnotizing experience. Long stretches without dialogue that would be boring in any other film are enthralling because of the show this movie gives your eyes and ears. However, that's not to say that the visuals and soundtrack are the only things this movie has going for it.
From the jump, "Only God Forgives" feels uncomfortable - perhaps because of its surreal setting, or its ominous soundtrack - in my eyes, however, it is because of its plot. A classic revenge story, at least on paper, this film subverts expectations and ups the stakes by making its lead character unwilling to take revenge, an understandable choice when you come to see the events that set the plot in motion unfold. This unique eye-for-an-eye tale gets flipped on its head, which may upset, or enthrall, viewers. I found this change of pace welcome, as it opened the door to many unpredictable scenarios and meaningful character building, practically all done through Refn's signature slow and steady style.
Yes, Ryan Gosling once again plays a quiet hero (or perhaps, anti-hero) who stays stoic for the majority of the running time. But if you pay attention, there is real and tangible character development taking place - as there is plot momentum. Just because this movie is slow and quiet doesn't mean things aren't happening to move the story forward. There is a story that's being told here; it is small-scale and minimalistic, but a story nevertheless. It will ultimately be up to you whether you not only enjoy the story but the way it is told; it goes without saying that this isn't a film for everyone.
Packed with mean dialogue, over the top violence, and lurid scenarios, "Only God Forgives" will be sure to send shivers down the spine of even the most hardened film fans. I still feel uncomfortable watching the beginning of this movie. However, it's style, sound, and story all come together in a way that's unlike any other action-thriller. This isn't a perfect movie - I wish Refn would've harnessed the plot a bit more and tightened it up, as he does in "Drive" and "The Neon Demon," both films where he enhances the plot with his surrealistic style, in comparison to this movie where he seems to use the plot as an excuse for surrealistic images. Regardless, for a pure cinematic experience in sight and sound, "Only God Forgives" delivers in spades.
- darkreignn
- Feb 5, 2021
- Permalink
Absolute rubbish
I think that either you will love this film, or absolutely hate it. I am in the latter category and here's why.
Because of the focus on scenery and the lingering shots the pace is dreadfully slow. There are shots where there is no movement at all I was sometimes wondering if I was looking at a picture or a film. The characters show little to no emotion and I couldn't identify myself with one single character. Sometimes it looks like all they do is stare. In my opinion the plot is simple, but unrealistic because of the strange choices the characters make. Halfway through I nearly got up and left.
Being honest I have to compliment though on the beautiful scenery and use of colours and light.
Because of the focus on scenery and the lingering shots the pace is dreadfully slow. There are shots where there is no movement at all I was sometimes wondering if I was looking at a picture or a film. The characters show little to no emotion and I couldn't identify myself with one single character. Sometimes it looks like all they do is stare. In my opinion the plot is simple, but unrealistic because of the strange choices the characters make. Halfway through I nearly got up and left.
Being honest I have to compliment though on the beautiful scenery and use of colours and light.