Phyxi

"Only God Forgives" has to be one of the most visually stunning films I have ever had the pleasure of viewing. Following the success of "Drive", Refn's new film has exceeded all of my expectations. While there is much left to desire in terms of narrative, it is easily forgivable. In fact, when faced with such visual spectacle, the narrative barely holds any importance at all. The story is quite minimal, skeletal. It follows the life of Julian (Ryan Gosling), who is a drug- smuggler, in Bangkok. After his brother gets murdered for killing a prostitute, Julian's Mother insists upon revenge for her first-born son. Ever obedient to his Mother, Julian embarks on this quest, despite his moral misgivings. Although he earns money as a drug-smuggler, Julian is quite honorable, which adds a bit of complexity to his character, and to the narrative.

While many of us ladies swoon over Gosling's good looks and brooding silence, his acting is so superb. With an innate awareness of the significance of body language, it almost seems as if characters such as Julian are written with Gosling in mind. And, well, perhaps they are. One can see the similarities drawn between Driver ("Drive") and Julian ("Only God Forgives"), such as the minimal use of speech by these characters, the long pause before speaking, and an ability to make one feel uncomfortable under their piercing gaze.

I have to admit that I have always been a great lover of violence in the cinema. "Only God Forgives" holds plenty of it. But, the violence employed is beautiful, stunning, a spectacle worthy of adoration. While there is instances that made me want to squeeze my eyes shut, they are filmed so brilliantly that I just had to keep watching. There is no escape from this dangerous, and seedy, underworld; there is no escape for the characters, and none at all for the spectator. Just as the violence is filmed in a spectacular manner, the use of framing, and lighting, are as worthy a mention. While some might feel that "Only God Forgives" has a slow-moving narrative for revenge flick, and feel a little daunted by the lengthy silences, I just cannot give this film enough praise. Clearly.

'New World' is an epic gangster film from South Korean director, Park Hoon-jung. With actors such as Choi Min-sik (probably most well known for his role as Dae-su in 'Oldboy'), I was expecting this film to deliver something spectacular. And, well, it did. For the duration of the narrative, I could not tear my eyes away from the screen. While the pace of most films of this length tends to slow, or get a little dull, 'New World' kept a steady rhythm, full of political intrigue.

Undercover cop, Ja-seong (played by Lee Jeong-jae), leads a dual life. He has his job as a policeman, and the role of a gangster in a large crime syndicate that goes under the name of 'Goldmoon.' When the boss of the syndicate is killed in a car accident, Chief Kang (Choi Min- sik) puts a new project into effect called 'Operation New World'. The purpose of this operation is to ensure that one of the undercover cops in the syndicate will rise to a position of power. The ultimate aim is for the syndicate to be in the hands of, or at least easily manipulated by, a trusted law enforcer.

Ja-seong finds himself torn between his duties as a cop, and his loyalties to 'brother,' and gang member, Jung Chung (Hwang Jung-min). Putting more hours, and more effort into his work, Ja-seong finds less time at home with his pregnant wife, and more into the syndicate 'family'. Acting as a bridge between the law, and the underworld, the loyalty of Ja-seong is rarely questioned by his acquaintances. Yet, it is apparent that Ja-seong beings to question the nature of loyalty, and of betrayal. As he prepares to dive further into the syndicate, his confusion becomes ever more apparent.

Some of the conversations in 'New World' were gripping, and the portrayal of violent acts was just spectacular. The use of blood in these instances, paired with close ups, were some of the most aesthetically pleasing moments in the film. While not extremely violent, 'New World' uses violence in a manner that complements the pace of the film. The ruthless nature of the law, and the syndicate, was highlighted in these instances, and it is apparent that both sides can be as manipulative, and as corrupt, as one other. All the while, in the midst of this corruption, Ja-seong must find a place of power to call his own; he must create a whole new world.

Hauntingly beautiful, and shot with exquisite mastery, Cianfrance's "The Place Beyond the Pines" has to be one of the best dramas that I have seen in a long time. While this film is quite lengthy, I feel that it is appropriate, for we enter quite a detailed narrative with many character arcs. Essentially, this film contains three narratives in one, and it is most interesting to witness as they diverge, then ultimately collapse into each other. The similarities between each of the character's stories are the relationships that Fathers have with their sons; and I really enjoyed being a witness to these relationships. There is a great sense of history repeating itself, of the need to be aware of the present and not of the past. Ryan Gosling, and Bradley Cooper, both provide stellar performances, while the locations used were superb. The costumes and lighting employed for scenes shot in the carnival, and the diner, created a grungy feel to the film, which I really enjoyed. The corresponding shots of nature, of sunsets, of forests, and of empty roads, created much needed space for reflection on life changing events that occur at such a heightened pace.