User reviews

An out of touch and dislikeable group of misfits, also rans and holier-than-thous, gather in a remote part of Morocco to celebrate and carouse, where an unfortunate accident ends with distress, and the source of the sorrow, must seek forgiveness.

Fundamentally, a film about the disregard, disrespect and contempt we have for cultures alien to our own, as well as to those closer to home, including friends and those more dear.

Whether you dislike the story and/or the characters, the acting and presentation is top drawer.

I'm a huge Ralph Fiennes fan and he didn't disappoint- he was the highlight of this unusual movie of clashing cultures and relationships. Matt White was suave and Jessica can be charming, but most of the other characters were stereotypical cardboard cutouts. The last half of the movie was the best by far. I'm still chewing on what I've just seen, unsure if I really enjoyed it or am a little disappointed. It's worth the highlights in my opinion, but I definitely think there were some missed opportunities to make this a deeper, more meaningful film.

It's not a very long movie so might as well try it.

The sets and landscapes are breathtaking. The cinematography outstanding. The performances are all stellar. And even though the pacing is slow enough to make the 117 min runtime feel much longer, writer and director John Michael McDonagh still manages to capture every special close-up shot and proverbial comment well enough to drive the hidden messages right through your heart.

However, as pretty and shiny as this film is, all the bloated intrigue and drama fails to deliver the true depth of the film. There's just too much filler and not enough substance. This film needed the mysteries and messaging to be harder, and the shallow pretentious eye-candy to be softer. Even the predicable ending could've been more exciting.

Nevertheless, a beautifully shot film with excellent performances that still manages to deliver a thought provoking message when morality is crossed with spoiled and entitled privilege, and the consequences that follow. It's a great one-time watch and a well deserved 7/10 from me.

Speeding through the Moroccan desert to attend an old friend's lavish weekend party, wealthy Londoners David and Jo Henninger (Ralph Fiennes and Jessica Chastain) are involved in a tragic accident with a local teenage boy. Arriving late at the grand villa with the debauched party raging, the couple attempts to cover up the incident with the collusion of the local police. But when the boy's father arrives seeking justice, the stage is set for a tension-filled culture clash in which David and Jo must come to terms with their fateful act and its shattering consequences.

The Forgiven, based on the 2012 psychological thriller written by Lawrence Osborne, attempts to balance the carefree ostentatiousness of the rich and privileged with the quiet, humbleness of the natives who both serve them and those who live in the deep desert. What could be a story of a man whose accident changes his thinking and wakes him up to the casual indifference of his friends is regrettably a wasted film that only manages to tell half a good story. On the one hand, David's journey with the locals is a transformative one for him, a personal journey complete with great acting from Ralph Fiennes and Saïd Taghmaoui. On the other, our secondary plot of the weekend long rager hosted by Matt Smith's Richard Galloway is a hollow, pointless look at Jo's descent into adultery in David's absence. With a cast of characters completely disconnected from all reality, it's almost impossible for the audience to latch onto or care about any of them (Jo included) as they wax poetic about international relations and occasionally remember to fret over David, who's out of contact during his entire trip. The weakness in the story at Galloway's villa makes is seem as if John Michael McDonagh didn't have enough story with just David's journey and needed to concoct a 'meanwhile, back at the base' subplot. McDonagh's attempts at shining any bit of light on the inequalities between the hard partying Europeans and the local Moroccans that serve them are, at best, hollow, fleeting, and almost insulting.

Starring Ralph Fiennes and Jessica Chastain, The Forgiven does neither of these excellent actors any favors. Not for lack of trying, however; both are doing the best they can with the paltry meal that's served them on the page. Fiennes, no stranger to playing unlikeable characters, is delightfully detestable in the film, casually tossing off racist untruths with all the misinformation that the only the privileged can muster. This is what sets the stage for Fiennes' slow transformation over the course of the film's runtime and while it can't be said he has a full Christmas Carol Scrooge-like turnaround, it's evident that his experiences in the desert have changed some part of him. Fiennes' ability to play these subtle changes in a glance or a hesitation in speech are superb acting, and the nuances in his enlightenment give the audience hope that David can turn a new leaf in life.

Jessica Chastin as Jo, David's long suffering wife, has a lot less to do, to the detriment of the film. The supremely talented actresses is wasted in this film, resorting to being not much more than a object lusted after by Tom, another member of Richard's party. While McDonagh attempts to inject a steamy, flirty relationship between Jo and Tom while David is away, the flimsy dialogue between the two makes their scenes together bland and uninteresting. Chastain, while having some agency in the first act as it's obvious her and David are unhappy in their marriage, is reduced to little more than a pretty face in a bikini in the second act, and set dressing in the third act.

Written and directed by John Michael McDonagh, The Forgiven proves yet again that McDonagh's direction is stronger than his writing. The initial concept of an indifferent man who's forced to face the consequences of his actions in a foreign land is an intriguing one. The story McDonagh crafts around that outstanding concept isn't as interesting and the script based off that story is sadly less than stellar. What we're left with is a talented director working off a source that doesn't live up to his talents, even though he wears both hats. Visually, McDonagh takes full advantage of the wide open expanse of Morocco, providing viewers with something like a travelogue experience as David rides with Anouar and Abdellah to their home. Editing wise, the 117-minute runtime is thankfully smooth, intercutting between David's isolation with the Moroccans and Jo's time spent partying with Tom. While the story lacks any real punch or substance, the pacing of the movie has to be credited; the accident happens fairly early in the movie in an attempt to grab and keep the audience's attention throughout, and McDonagh smartly knows when it's time to cut away from one plot back to the other.

Overall, even with its aimless storytelling and meandering plot, there might be enough in The Forgiven to salvage a decent, workable story. Presented as a suspenseful thriller, this film is best reserved for a middle of the week watch, after work, with a drink firmly in hand. Ralph Finnes and Jessica Chastain are trying their hardest with an undercooked script, Matt Smith and Christopher Abbot are tossing away their lines with the casualness of someone reporting the weather, and Abby Lee (a breakout star in 2019's Lovecraft Country) is seemingly present for no reason. The only actors worth paying attention to are Saïd Taghmaoui and the always dependable Caleb Landry in a small yet entertaining role full of snark and sass. A fascinating premise wrapped in subpar writing, the movie is unlikely to make any top 10 lists for the year but still has just enough juice to entertain the viewer on a slow night.

Whilst The Forgiven definitely feels its length it's still a really good drama that skillfully critiques many of the worst tendencies of the upper class whilst wisely humanising those who are often depicted as stereotypes.

Ralph Fiennes gives a great lead performance that's unafraid to be unlikable and buoyed by his solid chemistry with Saïd Taghmaoui, whose one of the most human, earnest and likeable characters in the whole film. Ismael Kanater is also great, equally human and full of heartbreaking pain and anguish.

John Michael McDonagh's direction is really good, prioritising nice framing and some clever transitions over mobility. The old Hollywood style credits are a nice touch too. The music by Lorne Balfe is really evocative and memorable if a little overused.

I don't know the book and this is a movie, and thus a review of the movie. The movie was full of cliches and I had a feeling that it tried to be more than it could do. It was trying to be Agatha Christie kind of mysterious story, failing. There were wannabe characters of this and that which though lacked the charisma and the character. But the trying showed. Great actors Jessica and Ralph didn't shine. Not because they were bad but the movie just didn't work. It got slightly better on the second half, but still left lukewarm feelings.

This movie is a failed movie. It promises a lot and finally falls short. A real shame, because the fact of being behind John Michael McDonagh heralded a better result.

Emotions in frivolous environments with respect for traditional ritual; moral relativism with the strict fixation of customs.

In one, the superficiality, nothing really has interest, contrived actions and motives to configure the inner emptiness of its characters.

In another, empathy is forced around forgiveness, guilt, remorse, justice, compassion.

The best thing about the film is the performance of Ralph Fiennes and some scathing dialogue in the first part of the film.

The movie "The Forgiven" is an adaptation of the novel by Lawrence Osborne but it got "lost in translation". The first hour of the movie serves to introduce the characters at a pretentious party in the middle of the desert in Morocco. Dialogues are made up of ready-made phrases, without expression or feelings, they seem like memorized dialogues. Not even Jessica Chastain as Jo Henninger or Ralph Fiennes as David Henninger could save the poor script.

The second half of the movie improves a bit. The scenes are more elaborated, but still without connection or too much emphasis concentrated on the life of the eccentric characters and less on the servants. Even so, the movie manages to transpose to the screen the question of Western imperialism, the lack of importance of having an African alive or dead, and the insignificance of the country's local tradition.

The film takes place in the 20th century but could easily be transported to the 18th or 19th century since Western bourgeois society continues to see Africa and the Middle East as a region for carnal and exotic attraction, where there is still a clear vision of servants and lords of lands.

A shallow patronizing script with cliches at every turn. The racist one liners designed to show the cultural divide are cringe worthy and crass. There's no depth or subtly in this movie, it's just a one dimensional mish mash of stereotypes. What were some of these great actors thinking when they took this on? Do not waste your time.

I follow Jessica Chastain on social networks and had seen some of the behind the scenes of this film months ago. Then it sort of scattered itself about and I didn't hear about it again, until it popped up on Hulu as a watch option.

I adore Chastain greatly and will religiously watch anything she is in good or bad (The Good Nurse for example, was bad). That's what got me to watch, but by all accounts her character here, along with most all of the others, were dreadful. Not in how they acted, but who they were portraying themselves to be. Vapid.

Ralph Fienness was the one who you watched learn and grow through the film and only by his characters growth + understanding was it not a loss.

I do also understand that the audience might have lost a pulse on the storyline to catch the potent alternate ending exchange that happened in the car between Ralph and the Moroccan driver. If this scene was brushed over than the dynamic gravity of the film was too. I'm assuming leaving many viewers wondering why they watched.

Ultimately, it's next to impossible to ask viewers to think and pay attention - so it all needs to be ace in order for real memory to attach. They had a lot here. Great setting, great cast, great story ... the execution fell short +

with that it falls below redeemable IMDb grading. It's a great film if you like slow burns and don't dual screen watch. If you're in it for a thriller or adrenaline, pass.

This was literally the most boring and pointless movie ive ever watched in my entire life. Its 2 hours of torture seriously. It wasnt funny, it wasnt scary, it wasnt dramatic, it wasnt thrilling, it wasnt sad, it wasnt happy, IT HAS ABSOLUTLEY NO POINT AT ALL LOL. Also, what was with all of the super older men with super young girls?? I hate this movie with every fiber of my being and i wish i had a men in black thing to erase it from my memory honestly.

The Forgiven draws a brand-new line on top of hundreds drawn before to wake us upto the reality of disserted lives and of a minority to whom all that become dessert on the table. It's the dryness of desert and dryness of hearts that brings us to this cross road encounter of fates. Such a marvelous performance by Ralph Fiennes to perform the modern remorseless man finally outcasted and spat out. Yet this man is the ultimate outcome and the symbol of a failing system. The Forgiven maybe weighing more to the spiritual aspect of the subject while keeping a distance from the logic yet it's artistic approach produces a clear picture of the inability to cover up true misery with luxuries. Character insights are tremendous dialogues and performances of the cast is excellent. Forgiven is a worthwhile story.

I refer you to the review by Xstal , the most helpful review of this movie by vote tally and sums up my impression of, and reactions to, the movie.

Well then , decadence, depravity, indifference ? Arrogance certainly ; a fitting description of the idle rich and more specifically Anglo American entitlement. In our world Arabs don't count and this is not some 'woke' sort of trope put forth by the film maker. The plot is interesting; drama results as the movie unspools, some scenes and dialogue don't feel all that natural BUT some are spot on, funny and biting at the same time. Characters are well thought out and locations and cinematography are, dare I say , epic. If you miss this movie you will miss a performance by Ralph Fiennes that 1) could not be improved upon and 2) makes his character come alive and seem as real as if you were in the room with him.

The sad thing is that the world mostly consists of these shallow, little people who are buried in their own pettiness and cruelty and think that they hold the world inside their small feasts and despite their prestigious schooling and affluence, they remain small minded and uneducated.

Ralf Feines is the best thing that happened to this film, great support also by Ismael Kanater and Matt Smith. I can't say the same though about the flat Jessica Chastain and Christopher Abbott. Very good cinematography, amateuristic direction. All in all, this had the prospects of being really good but lacked in the details.

Too simple. Too many unnecessary scenes to make-up over simplicistic plots.

It seems the protagonist purposely accept and asking for his destiny although that just the opposite of his character, with corny progress. I guess that's the moral of the story.

I like his condescending look, kind of similar with the natural cast of Ralph. With almost knowing of how it's all gonna end, makes the movie purposeless even disappointing, also ironically bland if the end will be the other way. So after all, scenes can be reimagined by more dramatic. Because style over dramatization is failing for this movie.

I'm unfamiliar with the source material, so I can only judge the film on its merits.

I didn't know what to expect from this film, but I got sucked in quickly. It had basic but good takes on culture clash, people, and emotions. The cast was professional, so the acting part was done well. I like that even though there wasn't much to many of the supporting cast, they still felt memorable for some reason.

The film started having problems closer to the middle when it felt like a lot more should have happened. More dialogue, more things to think about. And don't get me wrong, there were interesting themes, but there wasn't enough meat to the film.

It still would've been fine, but the ending only brought confusion. Since there wasn't enough essence, it was hard to grasp the main character's arc (if there was one). And thus, I didn't understand what his reaction, in the end, was supposed to be.

I guess his forgiveness could've only been granted through the ending scene. But it never felt like he was crushed by guilt; upon coming back, he acted like it was nothing. And since other plotlines (for ex., the wife's one) were brushed to the side, I guess he was supposed to be the focus. But the ending to his story didn't feel earned, more like it just happened. And since the title brings up forgiveness, all the things that have happened seem pointless. Through the film's depiction of the events, half of the things that have happened were rendered pointless by the ending.

Overall, the film felt like lots of things were missing, some of which would've made the ending earned and much more emotionally connecting.

So the film starts out all moody and serious like an art house western.

And then well it just proceeds into a long story about a group of extremely pretensious and shallow people who all think they are deep but clearly are not. And then they all continue to be pretty nasty to each other. The story makes a good effort to protray these people as likeable, but really they are just all pretty nasty.

Like why would you want to make a film about all these nasty pretensious people? And occassionally they try to say deep stuff, but it's all pretensious drivle.

And the only good guy in the whole story just has an awful time. What a depressing view of life. And your waiting for some kind of moral pay off to the whole sordid affair, but ultimately there isn't one.

Over all a fairly unpleasant and nihilistic film.

Take my advice and give it a miss.

Richard Galloway (Matt Smith) and his gay partner Dally Margolis (Caleb Landry Jones) have created a private resort in the Moroccan desert. Hard-drinking surgeon David Henninger (Ralph Fiennes) and his wife Jo (Jessica Chastain) are two of their guests. In the dark of night, David gets lost driving to the resort. He hits and kills a local boy.

This reminds me of the TV show, The White Lotus. The guests are entitled and selfish. They make many assumptions about the locals. The locals have their own prejudices. It's a clash of cultures and classes. It raises uncomfortable questions about people. Unlike White Lotus, this does not use as much ironic humor and has the intensity raised up especially in David's journey. I could do with less Jo. Once David is headed out into the desert, the resort life holds much less importance.

It wouldn't even be legal to make a prisoner of war watch this movie. It's torture, unforgivable torture. It's hard to even imagine a team of professionals and specialists in their final moment said we're done... It's good ...finally, it's good to go, because it's so damn awful.