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Only God Forgives

Only God Forgives

2013
Drama
Suspense/Thriller
1h 30m
Julian, a drug-smuggler thriving in Bangkok's criminal underworld, sees his life get even more complicated when his mother compels him to find and kill whoever is responsible for his brother's recent death. (imdb)
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Only God Forgives

2013
Drama
Suspense/Thriller
1h 30m
Your probable score
Avg Percentile 41.98% from 2008 total ratings

Ratings & Reviews

(2008)
Compact view
Compact view
Rated 25 May 2013
65
47th
Completely relentless in its violent tableaux. Filmed, no, painted in striking colors by Kubrick's old lighting photographer Larry Smith, and certainly with stylistic inspirations from The Shining and Eyes Wide Shot. It's a violent poem of metaphysical aesthetics. But Refn is no Tarkovskij. In reality you are left emotionally numb by the basic moral family melodrama.
Rated 20 Jul 2013
4
70th
Refn pushes his moody, neon-drenched aesthetic further than ever before, creating a film that, like Drive, strips away character and plot to focus on archetypes and symbols. If anything, this is even leaner and moodier than Drive, and since it's not remotely engaging with mainstream concerns, less immediately satisfying. But those patient enough may find themselves rewarded by a beautiful, albeit extremely violent, treatment of masculinity, vengeance, and justice.
Rated 26 May 2013
5
20th
Cinema as hollow sensationalism, the result of a director who started to believe too much in his own hype. I wouldn't be surprised if this develops a minor cult following among arthouse aficionados, though I doubt even they will overlook the film's glaring narrative shortcomings. And I swear, Gosling is one movie away from starring in a silent film.
Rated 22 Jul 2013
88
87th
How are people finding this boring? I just don't get it. How could something so visually breathtaking be boring? The color palette is astonishingly fresh and fascinating. Refn has a methodical pace, true, but I find that to be a great asset here, as it creates a moody, almost ethereal vibe. The wonderful music adds to that tone. Despite its seemingly simplistic story, there are a lot of underlying themes here that I look forward to exploring on further viewings.
Rated 20 Jul 2013
85
86th
David Lynch's Kickboxer.
Rated 31 May 2013
30
14th
Damn, it looks good. Wow, it sounds awesome - but the Emperor has no clothes on. All style, no substance, and nothing to remember - except for a great Kristin Scott Thomas oneliner here and there.
Rated 19 Sep 2013
80
81st
Maybe it helped that I was lying on the couch with a cold, half-feverishly sipping grog, but Only God Forgives was a surprisingly engaging watch. Not for the story (which is simple 'cycle of violence' stuff) but the gorgeous neon-drenched visuals, moody camerawork, bare minimum of dialogue and amazing soundtrack created a half-feverish atmosphere that pulled me in rather easily. Where Drive kinda did the same and felt flat for me, this worked wonders.
Rated 24 Jul 2013
83
83rd
Was anyone really expecting Refn to emerge, finally, as the bastard progeny of Quentin Tarantino and Terence Davies (or hell, if you prefer, Takashi Miike and Robert Bresson)? Or for it to work as well as it does? I didn't find it as overtly, gut-level "enjoyable" as Drive, but it might be a better film in a fully-formed "artistic" sense. Refn films have been an gradual, ever-evolving battle against conventional concepts of "characterization", and this is like a victory lap.
Rated 15 Oct 2013
30
6th
What does this movie want from me?!
Rated 26 Dec 2013
50
25th
I think a lot of people were disappointed after Drive but since I thought that film was grossly overrated, I didn't have those expectations for this film. Yeah, it was pretentious, but mostly it was just boring. He was obviously trying to emulate Lynch & Jodorowsky but it doesn't even touch those guys. There was some nice cinematography & some cool shots & I appreciate the sleaziness it gave off in some way, but, for me, that doesn't make up for the lack of emotion or characters with any depth.
Rated 20 Jul 2013
95
94th
A strong meditation on the nature of good and evil, vengeance, and taboo. The film strongly critiques the viewer's relationship with the protagonist and screams at you for your preconceived notions of who is good and who is evil. The pacing is slow and deliberate and only seems dull if you completely missed the message about impotence. Lots of symbolism and definitely worth multiple viewings. Don't be too swayed by the reviewers who did not get what they expected. This film has a lot of depth.
Rated 18 Nov 2013
10
5th
Holy crap, this was abysmal.
Rated 09 Nov 2013
30
3rd
Look! Look at how edgy and violent I am! Just make sure you don't look for a decent plot.
Rated 20 Jul 2013
1
12th
Takes all the good parts from Drive and removes them and you end up with this. BTW --- Refn, we get it, you have a boner for Ryan Gosling
Rated 11 Feb 2014
20
1st
What a phenomenally baffling film. This must be what Drive looks like to people who didn't like Drive.
Rated 01 Jun 2013
50
28th
I don't think Refn should be writing his own scripts.
Rated 22 Jul 2013
5
42nd
This movie floats around and bores more than it captivates. The problem is a lack of tension, I think, because in Drive the outbursts of violence are thrilling and jolting, whereas in Only God Forgives the violence seems languid and distant, even if the body count and carnage is more rampant. Of course, there's more to this movie than violence, but that's found in the aesthetic and lighting, not the characterizations, which are simple and fairly skin-deep.
Rated 16 Nov 2013
71
84th
While not as engrossing as Drive, the sheer zazz of this film carries it. Again there is a heavy 1980's influence but this film is more surreal and as others have mentioned, switches to an almost David Lynch like feel. Nicolas Winding Refn makes interesting shots, and that already puts him ahead of 90 percent of directors today.
Rated 24 Oct 2013
2
0th
All flash and no substance. This is not my first Winding Refn but he isn't doing very well in my book. I love his style and use of color and light but his films don't interest me. Drive was MUCH better than this, but that isn't saying much because this film was horrid. It was like trying to make a David Lynch version of Kill Bill but it was lacking all the great Lynch stuff and the Kill Bill parts were minimal too. The acting was nice and like I said the film has pizzazz but its boring and dumb.
Rated 01 Aug 2014
4
74th
A mood piece of deliberate, meticulous, purest formalism. It forgoes characterization and sign-posted plotting in favor of symbolism and subtext, abstractions realized in vivid imagery and staccato violence. Something so alienating is rarely so hypnotic and engrossing.
Rated 10 Dec 2013
77
78th
Refn is like a painter who brush is too big for his canvas, resulting in frustratingly broad strokes so we can't see the whole picture, but also giving tantalisingly beautiful tastes of something truly special. At times this is so ridiculous it's almost laughable, and at other times is all seems to make perfect sense! Overall though; can't say I didn't enjoy it.
Rated 01 Jun 2013
30
10th
Has some nice compositions and little else of interest. Many of KST's lines are laughably bad and disturb the tone of the film. Hopefully Refn will eventually tire of violence and put as much effort into the scripts. His sense of style, though laboured to the point of being frustrating here, deserves it.
Rated 13 Oct 2013
94
97th
A super-stylish flick with 150% less French twats and 35% more kickboxing. It's a saturated blood-fest with one of the most homely looking villains (?) ever to wield a katana on the big screen. Le Violence abounds and Ryan Gosling refrains from taking off his shirt, so this moody sibling to Valhalla Rising and Drive is definitely not for everyone (and especially not the squeamish), but then again, I'm not everyone. I'm no one. Sadface.
Rated 20 Jul 2013
75
42nd
It's interesting that there's so much "style over substance" criticism aimed at this film because, despite enjoying Drive more, there's much more to chew on here. Multi-dimensional characters and a dense story would run contrary to the point. It's undoubtedly a difficult film, but if you're willing to engage with material that's entirely symbolic and allegorical -- as you should be if you're watching a Refn film -- there's a lot to think about.
Rated 21 Nov 2013
30
11th
Drive's creator/star duo return in a picture every bit as bad as that film was good. The cinematography is fantastic and you can't deny the crisp direction, but the writing is terrible: slow, peculiar and empty, meaning Gosling can't just stare his way through this one - try as he might. Almost threatens to develop a plot midway through but can't stick with it, eventually coming off more as an art project than a cohesive story. Some people might go for this kinda shit, but it aint my cuppa tea.
Rated 19 Jul 2013
55
22nd
Great sight and sound...but in the end it's just shallow, pretentious and banal. There's nothing behind all the violence. It's just all about style...what was so great about "Drive" is totally missing here. Such a shame.
Rated 26 Nov 2019
85
90th
who the fuck is scraeming "STOP GIVING THINGS HIGH RATINGS JUST BECAUSE THEY HAVE NICE COLORS AND RYAN GOSLING" at my house. show yourself, coward. i will never stop giving things high ratings just because they have nice colors and ryan gosling
Rated 25 Aug 2013
45
12th
Winding Refn is really hard to judge for me, I really didn't care for Bronson but Drive was one of my favourites. I was hoping this would be more like the later, but it wasn't. All the actors are pretty solid, and even though Gosling's character feels similar to 'Drive', it feels a lot more shallower and less interesting. It has a very distinct look to it, but I don't watch movies for art; I watch them for the good stories and to be entertained and neither were prevalent in this film.
Rated 28 Jul 2013
77
41st
My first thought - "what is this insanely beautiful crap" was followed by some rethinking. What if the lack of a real story and of humanity or dimension in the characters are actually intended? What if those were the means to the end of pinpointing human nature, in value clashes that are as vivid as Refn's palette or as as blood itself. Very subtle poetry by Refn, but it's there. Thumbs up for going the risky way.
Rated 26 May 2013
62
31st
Rule No.1 of International Crime: don't screw around with the local police. It seems that in Thailand this is even a more important Rule of thumb. Ryan Gosling risks to become a new Bruce Willis or Anthony Hopkins (playing the same character in different settings). Refn did an excellent work in cinematography again and Chang "The Thai Punisher" character was interesting. but overall the story was pretty weak, too intentionally gory; and the mother character was just too over the top.
Rated 18 Oct 2016
75
44th
I have this sense that this is a very hollow film, with its only meaningful commentary the very surface and blunt criticism of vengeance. But the style and pacing of the film is so captivating that it's worth experiencing regardless.
Rated 21 Jul 2013
85
80th
I'm not getting the hate. Movies CAN be "style over substance" and that's okay. A nice stylish film is good once in a while, and this excels at that. The lighting, the little dialogue, the way it drifts from scene to scene... it all works. I think this is more symbolic than literal, so yes the plot isn't amazing in that sense but I feel there's more to it. It was just fun to watch because it did things its own way. Plus I love the fight scene between Gosling and the cop, love the music and mood.
Rated 16 Feb 2016
70
66th
It's a visual pleaser - I like visual pleasers. Though too many movies are being called "deep" and "different" because of the lack of evens and the suspense they hold. The truth here is that the plot line is hardly there and if you don't get this movie, well - boo-hoo.
Rated 16 Nov 2013
35
20th
A not-good version of a Sympathy Trilogy movie. While it's tonally, thematically, and visually reminiscent of similar movies that I would consider to be masterpieces, at the end of the day I was left numb and unengaged. Technical ability doesn't mean anything if it doesn't work. Plus I was already getting sick of Refn's Gosling-portrayed silent protagonist schtick during Drive, which was at least more enjoyable.
Rated 21 Feb 2023
64
21st
A mess of a movie where Refn leans hard into all the artistic idiosyncrasies that gained him acclaim with "Drive" yet forgets to keep even a marginally intelligible plot. The poster tells all, a glitzy neon, just for show, with no soul.
Rated 21 Jul 2014
37
15th
An occasionally pretty student film with a budget. My dislike for Refn grows along with his self-indulgence.
Rated 23 Nov 2013
2
17th
needs more car chases
Rated 24 Dec 2013
36
5th
Kristin Scott Thomas looking sexy is about the only good thing I can say about this. It's wild how Refn manages to take genuinely good visuals and intense violence, yet put it together in a film this boring.
Rated 19 Jul 2013
1
16th
I feel like I've been trolled for 85 minutes by Refn. An empty vessel of a film. Anyone who tells you otherwise is either a hipster zombie or Winding Refn himself. Nice visuals don't make a movie, buddy. Someone buy this guy 'How to make my own film 101', as he is all style but little to no substance.
Rated 15 May 2014
45
3rd
Terrible. It has nice visuals and lighting, but that's the only redeemable quality in this film. Everything else ranges from bad to unwatchable. There is hardly any dialogue, the few lines that are said are horrid. There's not much acting involved, just a lot of staring. The characters are some of the worst I have ever seen in a film, combined with a bad plot and horrible pacing truly make this film an unpleasant experience. Watch Drive instead.
Rated 25 Jul 2013
78
73rd
It doesn't hit the same dazzling heights as Drive, but then, it's a completely different type of movie. Refn and Gosling have left the world of European crime films for the mesmerizing unease of Lynchian dreamscapes. Kristin Scott Thomas is terrific as Julian's mother, the type of woman who would make a fitting wife for Frank Booth. The shot composition and lighting are insanely gorgeous, and the deliberate pacing makes for a thoughtful meditation on the inevitabilities of vengeful violence.
Rated 21 Jul 2013
5
69th
Visually striking and atmospheric though it may be, Refn fumbles in his handling of the material. Only God Forgives is clearly meant to be a mood piece, as Refn eschews both plot and characterization in favour of nightmarish sequences of violence. However, what passed for enigmatic in the more archetypal, though equally arthouse, "Drive" becomes contrived in this more abstract form. The villain is not nearly sinister enough to be playing an Angel of Vengeance. At least the music is excellent.
Rated 01 Jun 2013
100
90th
I had a great time watching this, though I agree with a lot of the criticisms I'm seeing. The narrative, once it gets going, is far less tense and meaningful than the film acts like it is - and than it should be. Individual scenes worked well enough for me that it wasn't really an issue. With that out of the way, this is the most aesthetically stunning film I've seen in very many years. The lighting is sublime. Style over substance, but who cares? (everyone but me, apparently). Gorgeous.
Rated 21 Jul 2013
95
98th
It wasn't what I was expecting, but it was still an incredibly stylish, well directed and brutal 'revenge' story. I've read a lot of 'this ISN'T Drive, so it's shit!' reviews - but this ISN'T Drive, and if you went in expecting that, you were going to hate it from the off...if anything it's similar to Valhalla Rising in it's sparse plot and lingering camera movements...I want to watch it again...
Rated 29 Jul 2013
73
79th
Not a fan of formalism here, and Refn has made the most drastic transition from realism to formalism I've ever seen. Ever since he first made that switch, I've been appreciating his style without ever loving the films (the way I did Pusher 2 and 3). I couldn't help liking this one better than Bronson, Valhalla and Drive. With minimal dialogue, long moody images and brief fits of gruesome violence, he perfectly clarifies a big deal of narrative subtext, and the underlying politics are clever.
Rated 01 Sep 2014
50
42nd
Whereas Drive was visceral and deliberate, this is just repulsive and dreary. Take a Takashi Miike flick, surgically remove all the humor and play at half speed. Still, it's undeniably stylish and it hasn't made me give up on Refn, so there's that at least.
Rated 02 Jul 2013
82
72nd
This movie needs time. First, I thought it was banal. But, maybe after a week or so, Only God Forgives grown within me. It became powerful and essential: Mothers are the devil! The West is arrogant! God is Dead! I simply need to see it again...
Rated 19 Jul 2013
53
41st
A stylistic marvel with some of the best lighting and composition you will see in a film. Unfortunately, the plot is far too sparse the majority of the time and leaves a lot to be desired. Whereas Drive provided us with glimpses of humanity beneath the romantically filmed brutality, this film is mostly all carnage with barely enough dimensionality to its characters to convey a cohesive story. The dialogue was far too unbalanced as well. However, I feel this film warrants a second viewing.
Rated 30 Jan 2014
75
77th
Aka "Bad People Getting What's Coming For 'Em". Although Refn's fascination with movie violence perhaps is starting to feel a tad one-noted by now, and he here more than ever struggles to deliver a satishfying payoff, Only God Forgives is too mesmerizingly beautiful just to be written off as hollow trash. It's an uncomfortable visit to a foreign neon hell from where there is no escape.
Rated 22 Jul 2013
65
35th
With Kar wai Wong-like photography and some Gaspar Noe violence, Only God Forgives tries to be greater than it really is. Refn has some wonderful tools up his sleeve, but his narratives can be truely painful.
Rated 03 Jun 2013
20
8th
So, Cliff Martinez is the bomb...
Rated 05 Sep 2013
68
25th
This is a hell of a movie. A little too obsessed with the visuals and atmosphere compared to the story, fortunately the visuals are great and the atmosphere is crushing. The story is weak at best and is a fairly standard revenge story with some brutal moments thrown in for good measure (because it's Refn, why not). Whereas Drive was nearly a perfect mix of visuals, sound, atmosphere and story this movie focuses on everything other than the story. Watch it once at least.
Rated 02 Jan 2020
88
79th
While not as viscerally satisfying as DRIVE, and encumbered by a sluggish first act, this ultimately becomes as great an example of brilliant, brutal (and at times blackly funny) bloodshed as has ever been seen; the film is stolen by Scott Thomas' uncharacteristic and hilariously scabrous portrait of controlling momma from hell and a quietly frightening one from Pansringarm's avenging angel. Hypnotic score and set design successfully put you into the Zen mindset of Gosling's anti-hero.
Rated 05 Mar 2015
70
63rd
An American drug trafficker in Thailand finds himself on a collision course with a sword wielding cop who was involved in the death of his brother. Nicholas Winding Refn masterfully uses light, color and silence with striking effect, there's plenty of nasty gore, and I always love it when a movie shatters my preconceptions about it...but this one ultimately left me a little confused. I guess that's to be expected of a film dedicated to Alejandro Jodorowsky.
Rated 01 Jul 2016
75
64th
Only God Forgives is another visual delight by director, Refn. If nothing else in the world makes sense, Refn's cinematography does. The color and camera save this movie, despite it being pretty good, otherwise. The acting is alright, even a fairly tame Gosling. My main gripes are with the characters, and how it felt as if you couldn't sympathize with anyone, but nonetheless, Nicolas Winding Refn delivered. Keep doing what you're doing.
Rated 11 Aug 2013
60
47th
It is hard to know what to think about this film. Overall, I definitely liked Drive better. This one isn't bad, really. Just. Different.
Rated 23 Jul 2013
90
80th
Only God Forgives is full of unforgettable moments. This is a film that begs for an open mind and a willing to analyze. It's difficult - and maybe not even as deep as I want it to be - but it's worth the effort.
Rated 20 Jul 2013
85
91st
Stunning colours, gracious shooting, mesmerising mood and one of a kind style. Lots of connections to big masters. The story was strong but still I expected more from it. Revisit: but more time will pass, more you think about it, and more it bothers. Haunting movie.
Rated 14 Jun 2013
70
58th
I'll definitely needs a second watching to get a full view on everything (not in the last place because some loud idiots in the theater were apparently expecting a bullshit action movie like F&F, which was kinda distracting), but at least this movie didn't leave me careless. Very slowly paced, but never boring.
Rated 26 May 2014
82
47th
This movie is very strange and good at the same time. At parts i got confused , but i never got bored. Ryan Gosling is spectacular in this movie. He shows emotion while looking good doing it. Refn did a fantastic job with this movie. This movie isn't nearly as good as Drive , but has the same kind of cinematography . This movie was gross and awesome at the same time.
Rated 18 Aug 2020
79
61st
Sort of Refn's Enter the Void. Contains most of his typical hallmarks if you look close but is definitely a bit of a letdown after Drive
Rated 06 Jun 2016
7
41st
A neon soaked beauty.
Rated 28 Aug 2014
73
78th
The visuals, while impressive, have been overpraised--Refn is not quite at the formal level he aspires to be--but there is a strange, almost dreamlike aesthetic quality that provides an effective counterpoint to all the brutal violence; and the psycho-sexual undercurrents are knowingly daring and ridiculous. Gosling is more effective as the silent-explosive type here than he was in Drive, and KST blows all preconceptions out of the water. A grower.
Rated 10 Aug 2013
72
24th
Lighting and ultra-violence take the starring roles as Winding Refn expands on the aesthetic he began in Drive, this time forgoing character depth altogether. Taken as an artwork, his film is moody, colourful, hypnotic, and pretty soulless despite some playful associations and mythology. As narrative cinema it's a fart in the wind, nothing original or interesting to be found. Winding Refn should try harder because his last film proved that style and substance can coexist.
Rated 29 Jul 2014
40
37th
Muh symbolism
Rated 10 Oct 2013
65
18th
This is a really, really hard movie to review. The visuals are incredible, beating even Drive, and do a much better job of telling a story than the absolutely terrible characters and dialogue and general EVENTS. Explored a bunch of themes in the most simplistic way possible, and while KST was great her character was so broad it may as well have been played by Lady Gaga. Chang is almost interesting but by the end this is just evil cop kills a bunch of other jerks and then does karaoke: the movie.
Rated 27 Jul 2013
60
19th
The aesthetics play the lead role. Cinematography and sound are excellent. Everything else is just empty. The little scraps of character development just made me loathe the characters more.
Rated 23 Dec 2013
78
59th
A fine film that suffers from what I'd characterize as a lack of full development. The pacing and cinematography are methodical and lingering in the most beautiful ways, and the cast is stellar. Vithaya Pansringarm's performance is spectacularly terrifying, and the entire cast is phenomenal in their roles. However, the characters and the plot, at least as far as symbolic substance or fully realized humanity are concerned, lack polish, cutting the ultimate connection one might have with the film.
Rated 21 Jul 2013
18
4th
Strong cinematography & art direction but that can only carry a film so far. Shows what kind of damage a film school script does in a professional setting. Such a waste of behind the camera talent, well, unless you ignore the content and enjoy pausing the film at random. Pretty much falls on the writer/ director being either out of his depth or rushing out a half cooked project, probably both. See title for respite.
Rated 02 Sep 2013
2
19th
Actually becomes unwatchable. Abolutely loved Drive but this is a complete misfire.
Rated 22 Jul 2013
79
86th
I understand why some people don't like it, but i thought it was a very simple and stylish film, true to Refn's nature. There was an interesting, although subtle, storyline about being trapped in a family that i felt drove this movie so that you could hold enough to enjoy the style.
Rated 27 Dec 2013
75
56th
What's more important, style or substance? Movies like this test you as a critic. The lines about Billy raping the 16-year-old and his mother defending it, for instance, balance a treacherous line between compelling and stupid. What's great is, Refn does that completely intentionally, and borders on being a master. The movie's intense, violent and creepy, and while it isn't "Drive", it doesn't have to be. Much of Refn's substance IS his style, which will rub some the wrong way. "Y'wanna fight?"
Rated 04 Dec 2013
80
91st
Bloodthirsty but gripping exploration of fantasies emerging from the fear of maternal power. Far superior to the conventional DRIVE, despite critical opinion to the contrary. All pretence to generic morality is dropped in favour of a slow but wildly exuberant abstract(ed) expressionism, not just in terms of sound and image but psychosexually, taking audacious and unusual risks with character and dialogue. Thanks given in the credits to Jodorowsky and Noé reflect the true inspirations, it seems.
Rated 01 Feb 2016
73
52nd
Replacing the small amount of mainstream charm in Drive with More Gross Stuff led to mixed results. I loved the cotton candy aesthetic though.
Rated 07 Jun 2017
85
79th
I used to hate Refn's films but at some point rewatching Neon Demon everything clicked. Went back to his other films and loved them. The style is the substance for me.
Rated 07 Jan 2014
65
40th
It's strange that people say this is all style over substance; that is exactly what Drive was!. What were people expecting? Refn is clearly a one trick pony. OGF is simply a series of beautifully composed 'still photographs' edited together to make a wafer thin story, as was Drive, but the difference here is that it works. In the same way as Kill Bill was mindless people hacking, OGF is the same in slow motion & I enjoyed it because it may have been trying to be deep and meaningful, but wasn't!
Rated 24 Nov 2013
45
18th
It's important that there are directors out there willing to do different things so I fully support Nicolas Winding Refn's career. However I'm just not a huge fan of his films. Besides Drive I have haven't been able to get into any of them. I'll probably continue to watch them because they are at least interesting in a bizarre way and hope one strikes a chord with me the same way Drive did. This, obviously by my rating, did not.
Rated 25 Jul 2013
4
63rd
Gosglin perfects his "autistic violent silent guy who can't get sexual satisfaction" character in this, director Nicolas Refn also pushes his moody aesthetic to a new level by having this twisted morality tale play with very to little dialogue. Slow, violent, gory and also incredibly beautiful picture.
Rated 05 Jul 2015
60
28th
As in Valhalla Rising, it seems that Refn cannot do it without make every scene slow-paced and often in slow-motion. It's simply excessive and pointless. But, as always with Refn, it's visually interesting; and the plot it's a simple but entertaining revenge story, with a bit of sick mother-son relationship.
Rated 12 May 2015
69
48th
A lack of glaring flaws isn't merit. This movie is pretty and slow and does a couple things then ends.
Rated 23 Jul 2013
35
19th
Refn ran out of credits on my behalf henceforth.
Rated 09 Jun 2014
45
15th
Well, it definitely had some artistic direction to it. It told a decent story, but it just didn't really inspire any kind of feeling in me. I think the fact that it bears a dedication to Alejandro Jodorowsky at the end is very telling.
Rated 03 Mar 2017
65
78th
Epic cinematography, this has almost exclusively good shots in it. The story is as shallow as it was in "Drive" (except it takes itself even less serious here) but the minimalistic dialogue and emphasis on the beautiful décor make it easily endurable.
Rated 20 Jul 2013
70
58th
Style is a marriage of Lynch, Miike, and Weerasethakul. Gorgeous and disturbing, not without its flaws, but DEFINITELY not as bad as it could have been.
Rated 21 Jul 2013
6
27th
This is being compared to Drive because of Gosling, but it way more comparable to Refn's Valhalla. I enjoy his minimalistic artsy takes. This was lacking in places. Dreamy, but messy.
Rated 10 Feb 2014
6
83rd
yet another thoroughly unconventional film from 2013 takes the atmospherics from drive much further, dispensing with the easily digestible vigilante heroics and taking us into a realm of total amorality. all music and no plot, it's understandable if there's a couple of soft parts where refn couldn't come up with a suitably awesome colour palette, but this world of failed vengeance is largely an expressionistic wonderment.
Rated 28 Jul 2014
50
15th
Aspergers : The Movie
Rated 03 Apr 2014
50
9th
After seeing this movie I was confused, and sometimes that's a good thing. Sometimes it means I've watched a movie that's really worth thinking about and takes a bit of time to wrap your head around. Sadly I don't think that was the case here, it just had the tone of a movie that had something to say.
Rated 31 Jan 2017
12
6th
Meandering and sadistic.
Rated 31 Dec 2015
85
84th
A neon-soaked meditation on good and evil with an admittedly awesome portrayal of God. Not necessarily emotionally fulfilling but certainly iconic for its style and atmosphere. I feel as though this film will be ageless and a staple of contemporary arthouse.
Rated 13 Dec 2019
85
78th
dark, freudian, quirky and powerful . . . it's often rated low but i disagree completely and think this is a satisfying, fantastic film.
Rated 20 Jul 2013
85
95th
this movie caught almost everyone completely off guard. people, who adored the stylized simplicity of an arthouse gangster flick (aka "drive"), naturally expected more or less more of the same. and this is when refn proves he's an artist, rather than a crowdpleaser. OGF is a kick in the nuts of the popcorn chugging hipster crowd, because it asks you to partake rather than just swallow. the imagery is laden with clues and themes, and if you can't connect any of it, guess whose fault that is.
Rated 16 Aug 2019
67
71st
good movie
Rated 20 Jul 2013
35
2nd
A movie that totally lacks substance! It's like an empty shell. Some nicely painted images and a lot of mindless violence can't stand for decent film. I gave some points to the movie just because a crew tried to deliver something. Unfortunately the final result was crap. If the points were for the director, I would gave only 1 (out of 100), for the try. One more thing needs to be said, the Bangkok looks 'dead', lifeless in this movie, which is very far from the real Bangkok, a very lively city..
Rated 29 Dec 2013
78
55th
Obvious stylistic influence from Kubrick and Lynch, but without as much philosophical depth. Still, I would eagerly watch mundane filler scenes shot with Refn's keen eye for cinematography as he's able to squeeze interesting visual flair out of every frame. The use of color is brilliant and, on occasion, disturbingly beautiful. Gosling doesn't have to do much, but his minor ticks and occasional outbursts display his inner turmoil. Though the substance isn't immediate, there is some to chew on.
Rated 19 Nov 2013
86
51st
Decided to give this a shot after I fell in love with Drive. I did not disappoint! The characters may not be heavily developed, but they're all at least interesting to watch, as is Refn's masterful directing. Cliff Martinez's score really works here, like it does in Drive, and the overall feel and grittiness kept me glued the whole time. Not an amazing movie, but it's incredibly well-shot.
Rated 16 Sep 2013
45
34th
Somebody likes the color red!
Rated 24 Jul 2013
42
8th
The obvious care Nicholas Winding Refn put into creating some of the shots here--at its best, it's a gorgeous-looking film--makes it hard to dismiss this as pretentious nonsense. But the narrative and characters are so lacking--falling far short of archetypal status--that doing so is entirely justified. This would be Ryan Gosling's worst performance if he had a character to play; Kristin Scott Thomas tries to be menacing but is let down by her awful dialogue. Vithaya Pansringarm alone impresses.
Rated 25 Nov 2013
61
18th
It's a confusing situation: looking at the movie, it's like it's screaming "Notice me! I'm a great movie, look at me!" At the same time though, it's completely dry.
Rated 01 Aug 2013
8
86th
Every shot is brimming with beautiful color and information. Only God Forgives is a cinematic exercise in the composition of visuals and sound, instead of plot and dialogue. Is it slow? Absolutely. Do I wish it was slower so I could stare longer? Yeah, I do. Refn's Southeast Asia is engulfing, Gosling's performance is just like Drive's--perfect-- and the music is particularly powerful. Film should head in this direction as a medium!

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