supernma
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Christopher Nolan's sequel to 2005's "Batman Begins" is one of those rare films that transcends the boundaries and preconceptions of its genre and becomes something much, much more. From the very opening shot, you know you're in for something different - something special.
Batman is not alone in his fight to rid Gotham of organized crime and poverty-driven violence, teaming up with a hotshot district attorney and his ever faithful friend in the police department, Jim Gordon. But none of them see what's really coming - a dark, malevolent force of nature called Joker. This isn't your father's goofy, wise-cracking clown...this Joker (played iconically by the late Heath Ledger), is a maniacal, anarchic, nihilistic beast hell-bent on the dismantling of civilization; a man who cannot be bought, bullied, or reasoned with.
This is a dark, gritty film that will have you on the edge of your seat, filled with shocking twists, raw emotion, and ideas about sociology and character archetypes far beyond what anyone could imagine a comic-book movie could grapple with; able to function as both a fan-serving superhero epic and a gripping crime thriller.
The stakes are ever higher, the themes never more resonant, and Nolan's masterful stroke in orchestrating this now labeled "Godfather" of comic-book movies has set the bar so high that all in-genre movies that follow it will inevitably be compared and come up short.
"The Dark Knight" is a modern masterpiece.
Batman is not alone in his fight to rid Gotham of organized crime and poverty-driven violence, teaming up with a hotshot district attorney and his ever faithful friend in the police department, Jim Gordon. But none of them see what's really coming - a dark, malevolent force of nature called Joker. This isn't your father's goofy, wise-cracking clown...this Joker (played iconically by the late Heath Ledger), is a maniacal, anarchic, nihilistic beast hell-bent on the dismantling of civilization; a man who cannot be bought, bullied, or reasoned with.
This is a dark, gritty film that will have you on the edge of your seat, filled with shocking twists, raw emotion, and ideas about sociology and character archetypes far beyond what anyone could imagine a comic-book movie could grapple with; able to function as both a fan-serving superhero epic and a gripping crime thriller.
The stakes are ever higher, the themes never more resonant, and Nolan's masterful stroke in orchestrating this now labeled "Godfather" of comic-book movies has set the bar so high that all in-genre movies that follow it will inevitably be compared and come up short.
"The Dark Knight" is a modern masterpiece.
The latest film from Danish auteur Nicolas Winging Refn (director of "Drive" and "Bronson") finds (again) a subdued but dangerous Ryan Gosling with violent tendencies out for revenge. While it's almost impossible not to compare this film to Refn's much praised 2011 thriller "Drive", I will try to judge this film on its own merits.
Visually the film is glorious, featuring lighting that covers every spectrum of the color wheel. I think it's safe to say that Bangkok has never looked better, and that's why "Only God Forgives" may just be the best looking film of 2013. Long, slow push-ins down starkly lit corridors recall the films of Stanley Kubrick, and the no-flinching, often surreal violence reminds one of the works of Alejandro Jodorowsky (to whom this film is dedicated). That being said, a perfect film this is not.
There are no characters in "Only God Forgives", simply shells of people doing horrible things - it's easy (and perhaps too convenient) to make the leap that these figures are metaphors. What do they represent? What message is Refn so desperately not trying to convey? I don't know. I didn't know anything while watching this film. Certain moments are certainly happening in real time - in reality - but these scenes are interspersed with moments that blend reality, dreams, and metaphorical filmmaking, leaving the audience scratching their heads.
I'm sure it will require repeat viewings to get the full effect. And while I never found the film to be boring or uninteresting (I'd say it's anything but), I did find myself totally lost at times, perhaps over thinking what I'm supposed to feel, which characters are true, which images really exist. I'm not dull; I don't ask to be spoon-fed anything. However, there's a difference between letting the audience figure things out for themselves and deliberately hiding your themes and character motives from them.
In short, the film is truly style over substance, but I can't hate it for that because the style is so damn masterful. I could stare it for hours, but I will never be invested in the story or the characters who are too repulsive and contrived to truly hate or sympathize with. Watch "Only God Forgives" if you are a die-hard art house fanatic; if quality cinematography alone wets your appetite. If you're looking for an easy good time, avoid at all costs.
Visually the film is glorious, featuring lighting that covers every spectrum of the color wheel. I think it's safe to say that Bangkok has never looked better, and that's why "Only God Forgives" may just be the best looking film of 2013. Long, slow push-ins down starkly lit corridors recall the films of Stanley Kubrick, and the no-flinching, often surreal violence reminds one of the works of Alejandro Jodorowsky (to whom this film is dedicated). That being said, a perfect film this is not.
There are no characters in "Only God Forgives", simply shells of people doing horrible things - it's easy (and perhaps too convenient) to make the leap that these figures are metaphors. What do they represent? What message is Refn so desperately not trying to convey? I don't know. I didn't know anything while watching this film. Certain moments are certainly happening in real time - in reality - but these scenes are interspersed with moments that blend reality, dreams, and metaphorical filmmaking, leaving the audience scratching their heads.
I'm sure it will require repeat viewings to get the full effect. And while I never found the film to be boring or uninteresting (I'd say it's anything but), I did find myself totally lost at times, perhaps over thinking what I'm supposed to feel, which characters are true, which images really exist. I'm not dull; I don't ask to be spoon-fed anything. However, there's a difference between letting the audience figure things out for themselves and deliberately hiding your themes and character motives from them.
In short, the film is truly style over substance, but I can't hate it for that because the style is so damn masterful. I could stare it for hours, but I will never be invested in the story or the characters who are too repulsive and contrived to truly hate or sympathize with. Watch "Only God Forgives" if you are a die-hard art house fanatic; if quality cinematography alone wets your appetite. If you're looking for an easy good time, avoid at all costs.
"Dead Man Down" is a surprisingly well crafted, character-driven thriller with a refreshingly unpredictable plot. However, to even summarize this film is to spoil it; going into it knowing as little as possible will, I imagine, make for a much more fruitful viewer experience. Therefore, I will keep my review short and unspecific.
The film stars the continuously underrated Colin Farrell and the international up-and-comer Noomi Rapace (2009's "The Girl with the Dragon Tattoo" and "Prometheus"). "Dead Man Down" may seem like a high stakes crime thriller on the surface, but at its core is a character-driven drama about two outcasts of the world with a mutual driving force of self-destruction.
While some films in the same genre are akin to chugging cheap beer, "Dead Man Down" is like sipping on good wine. The film is tightly paced, but takes its time revealing key details, making for a much more savory experience. While not without its problems (a climax that comes a little too quickly and conveniently), overall you'll enjoy the journey these characters take and have a lot of fun guessing what will happen next along the way.
The film stars the continuously underrated Colin Farrell and the international up-and-comer Noomi Rapace (2009's "The Girl with the Dragon Tattoo" and "Prometheus"). "Dead Man Down" may seem like a high stakes crime thriller on the surface, but at its core is a character-driven drama about two outcasts of the world with a mutual driving force of self-destruction.
While some films in the same genre are akin to chugging cheap beer, "Dead Man Down" is like sipping on good wine. The film is tightly paced, but takes its time revealing key details, making for a much more savory experience. While not without its problems (a climax that comes a little too quickly and conveniently), overall you'll enjoy the journey these characters take and have a lot of fun guessing what will happen next along the way.
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