20 de outubro de 2020 , por
This movie was consummately pretentious with no reason to be. It competed for the Palme d'Or at the 2013 Cannes Film Festival. | The violence will turn people off – it’s one of the most graphic films I’ve ever seen – but the absolute integrity of Refn will, hopefully, bring everyone around again when they can stand to watch it. This is absolutely brilliant. The only person who could think this interesting was the director himself, completely oblivious to the sheer boredom and lack of interest foisted on his audience. This scene is where he comes to realization that he no longer wants to be beholden to his mother, which is fairly important. Please. | Lisa Thatcher, Pingback: LAMBScores: Conjuring Dead Snails | The Large Association of Movie Blogs, Pingback: 2013: A Magic Year in Film – My favourite films of 2013.
So I don't get the author's bit about him being "a cop and therefore completely different from the criminals I chase." Like most art-house films, there are people that claim this to be a masterpiece and there are people that claim it's a god awful pile of trash. (Sydney FF Film Review), Everybody’s Talkin’ 5 – 24 (Chatter from Other Bloggers) | The Matinee | Cinematic Passion & Perspective, Sydney Film Festival Round up – 60 film filled years! I guess ultimately I agree with Refn that any encounter with God is going to be a bloodbath. Personally, I enjoyed the way every frame was crafted. Posted by lisathatcher on May 24, 2013 in Film Reviews | 4 Comments. It is the fate of all of us, perhaps, to direct our first…
He's not the man his mother wants him to be, but he pretends to be for so much of this film. He's a silent, blood- thirsty, unrelenting killer mob-boss, like a Thai version of Paul Cicero, with a black belt. I wonder how many people would have claimed this a masterpiece if the directing and screenplay weren't so excellent.
I like this film, and there is much room for forgiveness in the end, but the effort doesn't all pay off. I typically like Refn, but this was just disappointing. The worst film ever made! FAQ The reason I give no spoiler alerts in the above is because this is but one of the small paths to understanding this wonderfully multilayered film. But all that glitters isn't gold. Refn has managed to merge the seemingly unmergeable Kubrick and Lynch in this haunting nightmarish modern take on the Oedipus myth.
Gosling, once again, shines brightly as an emotionless, cold-hearted psycho.. and that's only credited to how amazing an actor he is. It is Julian who reaches for his mother between the legs of his lover, and for a lover in the belly of his mother. There isn’t one single point of reference in this complex film. **I want to preface this saying that there might be a little plot revealing as I'm talking about it, but not much. I don't see where they got the impression he was supposed to be a feminist. This alone earns some of my praise for the movie itself. Drive is a bleach wipe to Only God Forgives' used condom left in an alley. No English Patient in this one. I was so confused and mainly just bored throughout this film. Quite a different film than the cinematic release. | It's a shame that people seem to be missing the point behind this film. I agree, much Oedipus in Julian. Every frame of this sumptuous experience is its own mini work of art, carefully constructed, intricately thought out and delicately laced, as a young man deliberately trapped (by his mother) in his own Oedipus complex tries to find his way to having it out with God. He is the only character that doesn't actively seek revenge and shows compassion, but that can't save him from the destructive tidal wave of vengeance that is set off in the beginning when his brother rapes and kills a 16 year old. I really liked this movie in parts, and really didn't like it in other parts. His [wife and child get murdered after all due to his own actions] (/spoiler). His struggle with letting go of the poison that is his drug-dealing incestuous mother, makes him so much more vulnerable than his character in Drive. Also unlike Drive there is no clearly established natural order. Pingback: Everybody’s Talkin’ 5 – 24 (Chatter from Other Bloggers) | The Matinee | Cinematic Passion & Perspective, Pingback: Sydney Film Festival Round up – 60 film filled years! Those giving this movie 1/10 are saying far more about their own absolute ignorance of film and extreme immaturity than they are about this movie. I think Drive was more praised simply because Only God Forgives is so ambitious. However, on one's first sitting, it's easily done - Refn's style and pace may fool you into thinking this is a dull, slow film. Metacritic Reviews.
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