Julian, a drug-smuggler thriving in Bangkok's criminal underworld, sees his life get even more complicated when his mother compels him to find and kill whoever is responsible for his brother's recent death.
A motorcycle stunt rider turns to robbing banks as a way to provide for his lover and their newborn child, a decision that puts him on a collision course with an ambitious rookie cop navigating a department ruled by a corrupt detective.
1000 AD, for years, One Eye, a mute warrior of supernatural strength, has been held prisoner by the Norse chieftain Barde. Aided by Are, a boy slave, One Eye slays his captor and together ... See full summary »
Nicolas Winding Refn
A young man who was sentenced to seven years in prison for robbing a post office ends up spending three decades in solitary confinement. During this time, his own personality is supplanted by his alter-ego, Charles Bronson.
It's 1949 Los Angeles, the city is run by gangsters and a malicious mobster, Mickey Cohen. Determined to end the corruption, John O'Mara assembles a team of cops, ready to take down the ruthless leader and restore peace to the city.
In this third installment of the 'Pusher' trilogy, we follow Milo (Zlatko Buric), the drug lord from the two first films. He is aging, he is planning his daughter's 25th birthday and his ... See full summary »
Bangkok. Ten years ago Julian killed a man and went on the run. Now he manages a Thai boxing club as a front for a drugs operation. Respected in the criminal underworld, deep inside, he feels empty. When Julian's brother murders an underage prostitute, the police call on retired cop Chang - the Angel of Vengeance. Chang allows the father to kill his daughter's murderer, then 'restores order' by chopping off the man's right hand. Julian's mother Crystal - the head of a powerful criminal organization - arrives in Bangkok to collect her son's body. She dispatches Julian to find his killers and 'raise hell'. Written by
After the fight of the opening scene, the arm of the winner is raised by the referee and the defeated fighter is picked up by his helpers in blue. When the camera cuts to the other side of the ring, this is shown again. See more »
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.
8 of 11 people found this review helpful.
Was this review helpful to you?