Review: Only God Forgives

Year: 2013

Director: Nicolas Windin Refn

Screenplay: Nicolas Windin Refn

Starring: Ryan Gosling, Kristin Scott Thomas, Vithaya Pansringarm

Synopsis is here

A quick glimpse of the trailer for Only God Forgives, Cannes’ most recent infant terrible, reminded me of something that veteran web film reviewer and general twitterholic Scott Weinberg mentioned briefly on one of his many rants on the current state of cinema. As I didn't save the tweet, I’ll do my best to paraphrase: “If there are no reviews, you’ll only have the marketing telling you what to watch.” I'm sure there was more to it than that. Possibly more swear words, but I digress. His point is important for the simple fact that as much as critics/reviewers/bloggers get a bad rap (particularly as we often appear to be out of touch with the general audience), their job is to merely inform a viewer.

This does not just mean tell someone if the film is good or not. While that is of course a large majority of what they do, they should also try and provide a certain amount of context around the film at hand. Internet commentators and keyboard warriors may feel differently, but a world without them would have even more people happily parting their well earned cash with whatever flick Hollywood would like them to consume.  Yes, I'm trying to prove my own existence here, but seriously, now that trailers and posters have stopped trying to tell you that the films released actually differentiate from each other, it’s nice to maybe have a heads up, even if you don’t agree with the writer.

Getting back to the reason why you’re on this page, Only God Forgives is the latest movie from Nicolas Windin Refn, whose 2011 feature; Drive, gained a fair amount of praise and profit from all quarters, including. If you take anything away from my review it’s this, if you see a trailer/poster for this film and see the words “from the director of Drive” anywhere on it...I'm warning you now. That’s the marketing and not the film talking. While there’s some slight thematic connections between the films (although this seems to lean more towards Refn’s Valhalla Rising), Refn leaves the muscle cars and typical convention behind. This isn’t in the same ballpark as Drive. It’s not really even on the same planet.

Sparse, violent and deliberately paced; Only God Forgives, like A Field in England and Spring Breakers, is more interested in exercising mood than narrative. If walls could talk; the cheerless and shadowy corridors that inhabit Refn’s film, would say little about the decidedly typical revenge plot situated within the films Bangkok setting. They would however, be screaming hellishly of the bleak and corrosive souls that walk amongst the blood red walls. I feel they'd have more to say than the two aforementioned films.

American ex-pat Julian (Gosling) finds himself forced to confront the killer of his morally devoid brother by his incestuous mother (Kristin Scott Thomas channelling the sorority sister of Norma Bates and Janine 'Smurf'Cody). The murderer; Chang, is a self proclaimed angel of vengeance, who takes it upon himself to deliver swift and brutal justice to those he believes deserves it.

The film is less bothered with telling the story; instead it tries to entrap the viewer inside nightmarish, neon drenched purgatory. These characters are soaked in the guilt that they've created. Visceral imagery of bound or amputated hands becomes metaphors for pleasure or protection being denied or taken.  Vithaya Pansringarm plays Chang with an all knowing mysticism that’s hard to shake off. After delivering his violent sentences, he performs sickly sweet karaoke to his fellow officers who watch in straight faced silence. In doing this; is he trying and claim repentance? The film leaves such questions for the viewer.

Will the viewer respond to Only God Forgives? Hard to say. For me, it starts off a little forced before becoming a little too full of itself once or twice. A neon-lit Thailand? A film set in Asia that deals with honour and vengeance?  Even the gloomy, never flinching face of Ryan Gosling makes a few of its elements feel a tad too commonplace.  

Yet throughout I found myself enthralled by its imagery and absorbed by the sheer absurdity. I found myself caught up within the rhythms of its dark, blistered heart. I caught glimpses of pity, drip through the lavish production design, perfectly framed shots and stained souls that wander these damp, darkened Bangkok halls. For those who are willing to let it in, they maybe something in the films dankness that they may be willing to embrace.  If the walls could talk, they’d tell you that their screams get muffled by marketing posters.  

British Film Bloggers Circle: Winners

Just because the Oscars are over, doesn't mean that all the awards have finished! Not at all, as Yesterday the British Film Bloggers Circle winners were also announced! How does that make you feel? Happy? Joyous? Marginally indifferent? However you feel, I'm posting to tell you the winners and pass on some more shameless self promotion as I am part of said Bloggers Circle.


So without further to do, here's the list of winners:

Best Film: Drive

Best Director: Nicolas Winding Refn (Drive)

Best Actor: Jean Dujardin (The Artist)

Best Actress: Tilda Swinton (We Need to Talk about Kevin) 

Best Supporting Actor: Ezra Miller (We Need to Talk about Kevin) and Christian Bale (The Fighter) - TIE

Best Supporting Actress: Berenice Bejo (The Artist)

Best original script:  The Artist and Midnight in Paris  - TIE

Best adapted screenplay: Tinker Tailor Soldier Spy

Best film not in the English language: The Skin I Live In

Best British film: Submarine

Breakthrough: Jessica Chastain

So there we are. I will say that one or two results left me hurtling vodka bottles at the founders screaming that (Redacted Film) was robbed, and how I'm going to get Harvey Weinstein to promote my picks next year. However, as a selection of awards, I did find it more unpredictable alternative than a certain star studded event , save for the best film award perhaps. 

Next year, I do hope for a Best Documentary section to be added as many brilliant films such as Senna, The Interrupters and Beats, Rhymes and Life deserved to be seen by more people this year.

So there we have it. It may not have as much glam and glitz as the academy, but at least we won't bore you with a two hour fashion show before the event.

To learn more about The British Film Bloggers Circle here:

 

End of 2011 Videocast - Part 2

The second half of our Videocast Nonsense.


Enjoy!

Review: Drive

Year: 2011
Director: Nicolas Winding Refn
Screenplay: Hossein Amini
Starring: Ryan Gosling, Carey Mulligan, Ron Perlman, Bryan Cranston, Christina Hendricks, Albert Brooks.

Synopsis is here:

If I wanted to act clever; when talking about Drive, I'd say something along the lines of: A brutal symphony, tinged with flecks of 80's nostalgia and machismo. But people who read this blog often should know that smarts aren't my strong point. Hell, I'm not even sure what I just said makes a lick of sense, so it's probably best to say that I felt Drive was a damn fine piece of Trash.

It's a film that clearly knows it's style over substance (there's really not much too it in terms of subtext) but WHAT style. Old school car chases (you know ones where you can see what's going on), unsubtle overblown moments in slow motion and brutality that one could describe as hyper violence.  Huff Post writer and prominent blogger Scott Mendelson hated the movie and likened it to a direct to DVD feature. However, I disagree entirely. Unlike many direct to DVD films, Drive doesn't mince words and puts its visuals, sense of place and tone to good use. Like Mendelson I don't see any underlying symbolism but I don't think the film is trying to hand any and it's all the better for it.

Drive appears like a throwback to Bullett. We have a strong silent "hero", whose intentions are good but morals are cloudy. It's easy to get frustrated at the films desire to eschew dialogue in place of lingering glances and thoughtful pauses, at first I found the film a tad clumsy with the films characters and their initial meetings with Gosling coming across a little awkward at first. However as the film goes on, the actors, their characters and the film begin to fit in their skin. We see moments involving Gosling's Driver and Carey Mulligan's Irene pretending to act like a normal family or relationship. We know this is not true throughout and I do believe it shows in the acting. From the tenuous smiles to the faux small talk we sense a connection but one that may be tragic. It great to see a relationship develop like this without the need to frivolous, throwaway trite dialogue.

It would be easy to dismiss Gosling's Driver as having a lack of backstory, however the film informs us of everything we need to know about the character in other ways. Listen to how his boss Shannon (a wonderfully on form Bryan Crannston) talks about how this drive literally dropped from the sky, look at the bare walls of the drivers apartment and how he lives (particularly at his simple rules as a getaway driver). Most importantly the films last moments involving the driver do sum up the characters life, relationships and how they interact when placed together with everything else placed together. No the film is not "deep" in the way I would describe something like Tree of Life is (or wishes to be if your a detractor) and lets not fool ourselves into thinking that this is ground breaking cinema but Drive, like Hanna, is taking generic genre tropes and taking them in different directions. It's 80's style soundtrack and slick visual style (one that does feel like a Euro director filming in America) mixed with an almost teenage angst and hardcore violence do make it stand out and the mixture of actors and direction do give it it's own voice. Compare this to something like Takers which truly wears it's generic elements on it's sleeve and I do feel you can see Drives clear strengths.

Gosling and Mulligan grow into their roles (still not fully getting the love), while Albert Brooks and Ron Perlman take pleasure in their antagonistic parts. The cast all work well, although I'm very disappointed at the fact that Christina Hendricks has even less to do than Mulligan. The star of the film however I feel, is the action. Like Hanna, we are given well executed, expertly handled set pieces (the beginning reminds me of the "slow car chase" of way of the gun at points) which grind and crunch as well as gearboxes that get worn down. Every violent act carries real weight, unlike the films pace which unlike the last Refn film I watched (Bronson) is far more breezy than I expected.

I, like so many others loved Drive, it's as brash and ballsy as the muscle cars it exhibits. It's polished design is light years away from the chaos cinema we've seen so much of in recent cinema. An old school action film with art house strands that keeps things simple and the entertainment high.