Sólo Dios perdona

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 motif to see this film is the beautiful trip across various references. It is a majestic film about mother - son relation, about justice, revenge options and equilibrium. It is not an easy or comfortable movie. But it has a precious virtue - the details. Everything becomes a story itself. No doubts, not very comfortable but fascinating at whole. Because, in essence, it is a precise and profound inspired exploration of the themes and cinematography of the thrillers of the last decades. The Asian sensibility is the basic ingredient. So, just a beautiful work. ,

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.

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.

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.