Only God Forgives
Don't Go! Visually spectacular, but too many limbs are lost.
Drive, slower and bloodier.
Guess who's back?! Ryan G-G-G-Gosling; and the widespread giddiness is palpable. So magical is the man, that you can now buy him and colour him in, like a papery modern day version of Michaelangelo's Creation of Adam (ish). In this latest, hotly anticipated movie, he re-joins director Nicholas Winding Refn - architect behind the pair's last film together, the majestic Drive. That concoction led to a film that was as stylish, cool and patient as a crouching, mustachioed Siberian tiger mixing Martinis in a purple tuxedo. When it growled into action, Drive pounced with shocking violence, but remained elegant and tender.
In Only God Forgives, Winding Refn has taken the characteristics of Drive and amplified them to new bone-crunching levels. In this regard, the story is relatively unimportant, but worth a brief explanation. Set in Thailand, a pair of American brothers (Gosling and Tom Burke) run a Muai-Thai boxing racket - a punchy cover for a nice bit of drug-dealing. One of the brothers (Burke) indulges himself in a wee murder of an teenage prostitute. That brutality creates a chain of murderous, revenge and avenge-filled events, driven by an emotional and psychopathic Thai police lieutenant (Vithaya Pansringarm) and the Oedipial and demanding mother of the two brothers (played by a platinum blonde Kristin Scott-Thomas).
In Only God Forgives, Winding Refn has taken the characteristics of Drive and amplified them to new bone-crunching levels. In this regard, the story is relatively unimportant, but worth a brief explanation. Set in Thailand, a pair of American brothers (Gosling and Tom Burke) run a Muai-Thai boxing racket - a punchy cover for a nice bit of drug-dealing. One of the brothers (Burke) indulges himself in a wee murder of an teenage prostitute. That brutality creates a chain of murderous, revenge and avenge-filled events, driven by an emotional and psychopathic Thai police lieutenant (Vithaya Pansringarm) and the Oedipial and demanding mother of the two brothers (played by a platinum blonde Kristin Scott-Thomas).
That description nowhere near expresses the extent and gravity of the violence in this film. To explain it fully, I would need too large a thesaurus - frankly there are only so many words for "horrific" before all you can do is add sweary words as adjectives. The extremity kicks off very early into the film and will immediately turn the stomachs of a large swathe of decent people - including three or four in the screening I attended, who quickly and decisively left their seats. This is a tragedy as there is so much of this film that is absolutely sumptuous, easily justifying its nomination for the Palme D'Or at Cannes.
Even more so than Drive, this film looks spectacular. Every frame of its 90-minute running time could be hung in a gallery, such is the director's artistry and attention to detail. It is a neon exhibition of sultry images; absorbing as it is electrifying. The cinematography alone makes this film special, but the script and acting elevate it even further. Sparser and more patient than Drive, but with similar moments of true genius. Scott-Thomas in particular plays her vile character with genuine menace and Vithaya Pansringarm commands the screen with bone-dry, self-justifying evil. Then there is Gosling. Although his character doesn't quite allow him to be as captivating as in Drive, he is well adept at playing the powerful, yet silent scarred man that this film requires. It is also undeniable that he is highly accomplished at wearing a well-tailored, three-piece suit.
Even more so than Drive, this film looks spectacular. Every frame of its 90-minute running time could be hung in a gallery, such is the director's artistry and attention to detail. It is a neon exhibition of sultry images; absorbing as it is electrifying. The cinematography alone makes this film special, but the script and acting elevate it even further. Sparser and more patient than Drive, but with similar moments of true genius. Scott-Thomas in particular plays her vile character with genuine menace and Vithaya Pansringarm commands the screen with bone-dry, self-justifying evil. Then there is Gosling. Although his character doesn't quite allow him to be as captivating as in Drive, he is well adept at playing the powerful, yet silent scarred man that this film requires. It is also undeniable that he is highly accomplished at wearing a well-tailored, three-piece suit.
In spite of all those good - nay great - elements, the extreme violence that punctuates this film is distracting and will substantially diminish the enjoyment of many viewers. The slow speed is also an issue. At times, it serves to build tension tighter than a mosquito's underpants, but it needs more pace throughout to keep up with the intensity of the imagery. Because of this, when the violence arrives, it is like taking a slap to the face from an bloodied oar. Too often, it comes as a jarring shock and disrupts the moment.
Because of this boundless violence, most should avoid this film. The artistry underneath the sticky smattering of blood so very nearly makes it universally worthwhile, but sadly, not quite. Even the participation of Gosling can't quite make it happen... And when even Ryan Gosling isn't able to make a movie, you know something ain't quite right.
So with a heavy heart, don't go to this movie. Instead, hope that Winding Refn tones it down just a notch for his next one.
Because of this boundless violence, most should avoid this film. The artistry underneath the sticky smattering of blood so very nearly makes it universally worthwhile, but sadly, not quite. Even the participation of Gosling can't quite make it happen... And when even Ryan Gosling isn't able to make a movie, you know something ain't quite right.
So with a heavy heart, don't go to this movie. Instead, hope that Winding Refn tones it down just a notch for his next one.
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