Only God Forgives

An empty hypnoneon nothing that paradoxically has it all; redruM, a shitload of material for Gosling’s breakfast, Oedipus complex², Jodorowsky, a return to mother’s womb, Martinez, Thai folk song karaoke, some explicit violence etc. (06/05/2013)

A pseudo-art game with symbols, vague characters, and a story about revenge and (lack of) forgiveness, in which fantastic cinematography and the unintentional ridiculousness of Gosling's vacant stare reign supreme. Overall, it’s enough for the biggest movie pose and epic fail of the year because I haven't seen a movie in a long time that shows so much of what it wants to be and works exactly the opposite way; I want to read a long analysis of it by a film theorist. (09/21/2013)

Refn made a name for himself with the movie "Drive" and decided that his approach must work every time. And so we get another gritty spectacle, where blood splatters, stoic performances, long shots, mostly saying nothing, and finally even familiar faces, which Refn has been successful with since "Bronson". The first half hour is fine and could bring anything, even Tarantino-style carnage, but Refn doesn't care about that. He styles his film and does it his way. I have to say that his portrayal of violence simply suits me. It looks incredibly good and realistic, which is supported by the static camera. However, the duel between Julian and the mafia boss is simply pathetic. Unfortunately, the second half of the film is really about nothing and the violence just can't save it. It's a shame, the potential was much more promising. (01/06/2014)

Unlike Drive, this time I didn't get the impression that I was watching (or trying to watch) a self-important film about nothing. Only God Forgives is a very stylish, gritty short story from the Asian underworld, which confuses the viewer but is not confused itself, it moves forward a snail’s pace, but also at a persistent pace and boils under a seemingly immobile neon color level. The flaw on its beauty is only the not-exactly-convincing performance by Ryan Gosling - the silent looks in his performance look the same all the time, and I can't even imagine what he's experiencing or what he's thinking. Kristin Scott Thomas, of course, is in a completely different acting league, and her overbearing, bashful mobster makes her memorable. (10/14/2017)

Thanks to Drive, Nicolas Winding Refn conquered the world, only to drive away his newly discovered fans away with his dream project. A hypnotic atmosphere that compels you to immerse oneself in every dark shot is an amazing thing, but the slow storyline is so self-absorbed that I can't go any further, not even for Ryan Gosling's indecipherable gaze. In Bangkok everyone is betting on him more than ever before, and I honestly felt sorry for any audience members who have already had enough of Gosling's silent charisma. Personally, I still fawn over him instantly, but considering the surprisingly strong feeling that this is an empty fable set in perfect visuals, this time around I am indeed disappointed. (10/21/2013)