Only God Forgives

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. (15/10/2017)

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. (07/01/2014)

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. (06/06/2013)

OK, when it’s Refn, I absolutely don't mind and have never minded superficiality. Not even being a poser. I always felt something more behind it - vibration, a unique vision, the ability to captivate through image. Only God Forgives is the first time that ostentatious self-affection and the importance attached to every (albeit non-plot) shot has severely bothered me. The entire film is actually the anti-thesis of Drive, an image of a passive, incompetent, insufficient, castrated protagonist, on whose side are neither justice nor sympathy. Unfortunately, Gosling's pleading gaze into the camera seems sometimes tragicomic, similar to the didactic repetition of castration motifs and the emphasis on the archetypality of the plot (sometimes horribly didactic). The plot element is as truncated and frustrating as the protagonist - it's certainly not a fail - it's an intention, a rather mischievous creative intention, which Refn ostentatiously presents to us. Disconnection, inconsistency, extraordinariness - what made sense to me in Valhalla Rising as a lyrical poem resonates in Only God Forgives as an empty and pompous mannerism, gratification of the armless, sometimes even rebellious and strenuously aggressive. Mechanical declamations, the absence of logic, a bizarrely interconnected world in which the only possible order rules - the order of the director's ego. For me, a completely empty pose, empty enough to frustrate me. A few scenes are, of course, masterful (the fight, the chase through the city, ending with a recipe for a funny wok pan), but the enchantment of the whole faded. Nicolas Winding Refn reduced to excess. (30/05/2013)

An experience that from the viewer’s perspective is something that combines orgasmic feelings with getting your fingernails ripped out, when you had the misfortune to be born with twenty fingers on each hand. The subjective running time of 300 years admittedly hypnotizes you with its visual fetish and almost hollowed-out narrative, where Gosling, for example, could easily have been replaced with a plush imitation of himself and it wouldn't have mattered. I don't begrudge Refn making films for himself; what bothers me is that he's considered a fantastic director, with his obsessive fascination with the image proving that, as a director, he's actually incompetent and lacking any kind of insight. And I don't buy his dedication to Jodorowsky as an alibi. Only God Forgives is essentially a photo-novel due to its static nature, and perhaps the likes of Greenaway would eat it for breakfast. In all its negatives, the film is reminiscent of the director's American debut, Fear X, or the anti-intellectual I Come with the Rain. But I can't help it, it's delicious eye-candy and offended me only a little bit. Now it's up to Refn what he comes up with next; I'd recommend a genre film, otherwise he doesn't have much of a place in a world where Gaspar Noé, Harmony Korine, or Danny Boyle are making visual art spectacles. I look forward to the reviews. (06/06/2013)