Review of Only God Forgives (2013) by Victor Ariel V — 02 Aug 2014

Review In A Nutshell:

I have seen two of director Nicolas Winding Refn's films, and both were strong and memorable features. Only God Forgives is considered by many a major step down from the talented director and features almost none of the magic that the previous films had. I came into this film with neutral expectations, not knowing whether or not I would find anything of value. The film was far from captivating me in the same way Refn's Drive did, but Only God Forgives delivered enough elements for me to be more than satisfied.

Similar to Drive, Only God Forgives features a story that is simplistic in its structure but complex in its execution. The core strengths of the script are in its characters as they are crafted in such a way that lacks any contrived explanation, leaving the audience in an ambiguous state of mind. Instead of being left confused and frustrated as most people, I was constantly engaged by the character's expressionless actions, formulating my own theory of their psychological and emotional construction; fortunately Refn didn't allow his film to feel too distant, and allowing me to care for its characters at their most minimal.

The film's core issue is in its themes, they simply aren't amplified enough to make the entire films feel highly enjoyable. I wanted the film to be heavier on its contrast between justice and revenge, and how it relates to its characters. If Refn spent the same amount of time with the film's style on its themes, then I believe the reception for this wouldn't be as low.

Refn's sense of style certainly dominates here. Working with his previous cinematographer in Bronson, Larry Smith, the photography leans more towards the aesthetic that was created for Bronson rather than Drive. He creates a gritty and gloomy atmosphere that displays boosted saturation and sense of artificiality in its lighting and colors, representing an exaggeration of the richly dark side of Asia, and also the grim and gaudy hearts of its characters. I was pleased with his change of tone and style as it proves to its audience that the man's vision isnâ??t limited to a narrow scope, but still able to deliver his defining trademarks.

The music of Only God Forgives is much more subtle and eerie as compared to the emotional and memorable soundtrack of Drive. Cliff Martinez's score aids the film's audience to be immersed in its sense of atmosphere, while still retaining that sense of ambiguity that Refn was going for; the score is similar to the intentions that Angelo Badalamenti presented in David Lynch's Mulholland Drive.

The acting in this film is definitely not going to turn any heads, but they were acceptable, given the nature of their roles and Refn's typical simple direction. I did somewhat expect a little more from this film, as both Bronson and Drive delivered career-defining performances, but judging this from what was served to me, all I could say is that I am content.

I empathise with the many viewers who throw stones at this film, but I was one of the fortunate few who were able to find some value in its existence. If one lowers their expectations and anticipates on what would be delivered, then one should feel entertained with Refn's latest work.