Only God Forgives (2013) Review

Back in 2011, Nicolas Winding Refn and Ryan Gosling collaborated to produce one of my favourite films of the past decade. Since then, Drive has become a cult classic. When it was announced that Refn would once again be teaming up with Gosling for a Thailand based gangster movie, expectation was high – sky high.

First off, Only God Forgives does not resemble Drive in the least. Refn has backtracked. The Danish filmmaker’s canon has been growing ever more commercial over the past few years. Bronson, Valhalla Rising and Drive all achieved reasonable commercial success, and could even be considered mainstream films. Only God Forgives showcases the return of Refn to his artistic roots, and then some.

The plot of Only God Forgives is almost non-existent. Ryan Gosling plays drug smuggler Julian, who faces the wrath of his tyrannical mother (Kristin Scott Thomas) when his brother is brutally murdered. The actions of Julian’s psychotic mother soon attract the attention of the brutal Lieutenant Chang, otherwise known as the “Angel of Death”…

Only God Forgives is quite simply one of the most stylish films of the year. Refn has demonstrated time and time again his unparalleled gift for stylistic control, and Only God Forgives is no exception. Rarely do movies look this beautiful, this is film as art. Bangkok is captured magnificently in swathes of red neon, a twisted hell on earth in which Julian is trapped. The visuals combined with the surging electronic score are infused with elements of eastern influence that firmly establish the backstreets of Bangkok as a primary character in this immoral tale of guilt.

All of Refn’s trademarks are notably present. The long awkward silences, scenery bathed in primary colours, haunting electronic score and excessive violence engulf Only God Forgives. It’s almost as if Refn has completely discarded any semblance of plot or character in some sort of bizarre stylistic experiment. This isn’t to say that Only God Forgives isn’t enjoyable, quite the opposite. The films total disregard for traditional cinematic conventions is refreshing, and it’s almost impossible not to admire Refn’s overly stylised nightmare.

It’s almost impossible to tell the difference between fantasy and reality throughout Only God Forgives. Refn’s Bangkok resembles some twisted form of hell, haunted by a neon red glow and inhabited by only the worst kinds of people. There are no heroes in Refn’s vision, only criminals of varying degrees. Julian is himself a criminal, and deserves his place in this hell on earth. Ultimately his quarrel lies with the creator of his surreal nightmare, the “angel of death” himself.

Those who struggle to endure the graphic violence so often associated with Refn's films may want to skip Only God Forgives. The brutality has been pushed to the limit. The colourful outbursts of Kristin Scott Thomas alone are guaranteed to secure a multitude of mid film walkouts from those with a sensitive disposition. Yet it is the violence orchestrated by Refn that truly shocks. One torture scene in particular makes for an uneasy viewing experience. 

Only God Forgives is utterly captivating, although certainly not for everyone - even the most bizarre offerings of David Lynch make more sense than Refn’s disturbed fantasy. Like meeting Colonel Kurtz for the first time, Refn's extraordinary vision is horrifying, confusing and ultimately, brilliant. You'll be glad you got off the boat.