---
title: "Only God Forgives"
year: 2013
kind: "film"
canonical: "https://film.one/film/only-god-forgives"
fi1m_id: "only-god-forgives"
imdb_id: "tt1602613"
tmdb_id: 77987
wikidata_id: "Q2679094"
fi1m_score: 48
critics_score: 47
critics_reviews: 27
published: "2026-09-25T00:28:37.004244+00:00"
updated: "2026-09-25T00:28:37.509950+00:00"
region: "PA"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Only God Forgives (2013)

Directed by Nicolas Winding Refn · 1h 29m · Drama, Thriller, Crime

## Identity

Only God Forgives

- **Canonical:** https://film.one/film/only-god-forgives
- **Type:** Film
- **Fi1m ID:** only-god-forgives
- **IMDb ID:** tt1602613
- **TMDB ID:** 77987
- **Wikidata ID:** Q2679094
- **Same entity:** https://www.imdb.com/title/tt1602613/, https://www.themoviedb.org/movie/77987, https://www.wikidata.org/wiki/Q2679094

**Fi1m score: 48** · Critics 47 from 27 reviews

*In a sentence:* Kristin Scott Thomas is rude enough to make us grateful for the interruption

> Nicolas Winding Refn gives this revenge thriller precise images and an unsettling score, but too few reasons to care about its people. Kristin Scott Thomas supplies welcome comic spite; the slow, punishing stretches remain hard to justify.

## Synopsis

In Bangkok, Julian (Ryan Gosling) is drawn into a revenge story in which violence and guilt govern the encounters. He remains withdrawn, speaking little, while Crystal (Kristin Scott Thomas) cuts through the silences with blunt speech. Chang (Vithaya Pansringarm) and Mai (Rhatha Phongam) also inhabit this criminal world. Confrontations develop slowly beneath neon light, with little conversation to explain the people involved or what they intend. Violence interrupts the stillness, and Julian’s reserve offers few clues to how he will respond.

## Review

Nicolas Winding Refn’s *Only God Forgives* has enough fine work in its images and music to make its thin drama frustrating. This is a revenge thriller slowed almost to a standstill, with guilt weighing on people who seldom explain themselves. There is nothing wrong with asking us to watch faces, listen and wait for a movement. The difficulty is that, across 89 minutes, the film gives us too few changes in those faces to keep the waiting tense.

Larry Smith’s cinematography provides the clearest reason to persevere: saturated colour and exact framing make Bangkok feel threatening before anyone acts. The neon is oppressive, and the carefully arranged compositions give the eye plenty to examine during the pauses. Beth Mickle’s production design sustains that artificial city, where ordinary life barely seems to exist beyond the frame. The trouble begins when another carefully composed image is expected to carry a scene without much help from the characters.

Cliff Martinez’s electronic score does useful work here, making the quiet stretches uneasy without demanding a burst of action to justify them. Its eerie sounds suggest danger even when the drama has stopped supplying reasons to anticipate it. Matthew Newman’s editing preserves the slow pace, but the extended pauses too often feel interchangeable. The music keeps suggesting that something terrible is near, even when our interest in what that might be has faded.

Ryan Gosling plays Julian with such restraint that it becomes difficult to distinguish one state of mind from another. We were bored by his prolonged stillness, because the film gives us so little change in expression or behaviour to follow. It is a committed performance, and the lack of easy charm fits this hostile setting. After a while, though, another pause with Julian tells us little we have not already gathered.

Kristin Scott Thomas has more to work with as Crystal, whose bluntness cuts through the solemnity. Her comic nastiness is welcome because it gives a scene an immediate, recognisable tension: someone is being unpleasant, and we want to see what happens when she finishes. That is a modest pleasure, but an important one in a film so reluctant to let people speak plainly. Even this performance cannot turn a thinly written character into a fully convincing person.

The violence is difficult to dismiss, and the controlled presentation can make it ugly in a way that feels deliberate. The problem is repetition: brutality keeps demanding a response without giving us much more to understand about the people responsible. A revenge thriller needs a clear sense that a decision will cost somebody something, even when everybody involved is hateful. Here, the lengthy preparation for each eruption becomes as wearing as the violence itself.

There is enough control of colour, sound and pace here to explain why the film has admirers. We cannot recommend it on those strengths alone, because too much of the evening is spent waiting for the people to become interesting. If sparse dialogue and prolonged brutality already sound tiring, this is a safe one to leave unwatched.

*Fi1m score 48, published 25 September 2026.*

## What the critics say

The consensus on Only God Forgives leans negative, though even many detractors admire its carefully composed images and oppressive Bangkok atmosphere. Praise clusters around the cinematography, production design and Cliff Martinez’s eerie score. Kristin Scott Thomas’s darkly comic performance also earns approval across the divide, with several critics finding her a welcome interruption to the solemnity. For many, however, these pleasures do not compensate for thin characters, awkward dialogue and violence that becomes numbing rather than disturbing.

The spread is wide, and the disagreement concerns more than tolerance for brutality. The Guardian finds the film gripping and formally brilliant. Radio Times argues that its slow, alienating approach rewards patience. Less persuaded critics find little beneath the stylisation, while mixed reviews often enjoy the atmosphere without finding enough story or feeling to sustain it. Gosling’s restraint is another dividing point: some admire it, but others see an inert central performance that makes involvement difficult.

## Straight answers

**Is Only God Forgives worth watching?**

*Only God Forgives* is difficult to recommend beyond viewers drawn to precise images and unsettling music; we score it 48/100. We welcome Kristin Scott Thomas’s comic spite, but the sparse dialogue, prolonged stillness and repetitive brutality leave too little reason to care about the people involved.

**How long is Only God Forgives, and what is it rated?**

*Only God Forgives* runs 1h 29m. It is a drama and thriller film.

**Where can I watch Only God Forgives in Panama?**

*Only God Forgives* is not on any streaming or rental service in Panama at the moment. It is available in 21 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Only God Forgives, and is it suitable for children?**

*Only God Forgives* carries a UK 18 certificate and is unsuitable for children, with prolonged, ugly violence that also makes it a poor choice for squeamish adults. Its oppressive neon lighting and eerie electronic score create unease between the confrontations, though we find the repeated brutality and slow preparation increasingly wearing.

**How does Only God Forgives compare to The Neon Demon?**

*Only God Forgives* is the less rewarding choice beside [*The Neon Demon*](https://film.one/film/the-neon-demon), which we recommend with reservations for patient horror viewers. Both use colour and music to support studies of cruelty, but the fashion-world horror offers more feeling and sustains our interest better than the revenge thriller, despite its own thin dialogue and sluggish scenes.

### Reviews we read (27)

- **Radio Times**, Damon Wise (4/5): Wise describes the film as an alienating, slow and intensely violent drama that rewards viewers willing to stay with it. He singles out its fractured, psychedelic style and Refn’s enduring fascination with violence. [Read](https://www.radiotimes.com/movie-guide/b-o2rvq7/only-god-forgives/)
- **The Guardian**, Peter Bradshaw (75/100, inferred): Bradshaw finds the film gripping and formally brilliant, despite its extreme violence and likely walkouts. He especially praises the cinematography, production design and art direction for creating its eerie, vivid world. [Read](https://www.theguardian.com/film/2013/may/22/cannes-only-good-forgives-ryan-gosling-review)
- **Empire**, Damon Wise (70/100, inferred): Wise finds the film a hallucinatory, uncompromising study of guilt, though its slow and mannered style may frustrate viewers. He particularly praises Cliff Martinez’s score for its eerie sounds and how it deepens the Bangkok setting. [Read](https://www.empireonline.com/movies/reviews/god-forgives-review/)
- **Screen Daily**, Mark Adams (70/100, inferred): The visible headline suggests a positive but atmospheric verdict. It singles out the film’s mesmerising, moody, and violent qualities. [Read](https://www.screendaily.com/only-god-forgives/5056627.article)
- **RogerEbert.com** (65/100, inferred): The page is identified as a review of the 2013 film, but its contents are inaccessible. The critic’s verdict and specific praise or complaint cannot be verified. [Read](https://www.rogerebert.com/reviews/only-god-forgives-2013)
- **Little White Lies**, Adam Woodward (5/3/5): The critic finds the film self-indulgent but engrossing, calling it Refn’s most complete work and possibly his masterpiece. They praise its hypnotic visual style and visceral atmosphere. [Read](https://lwlies.com/reviews/only-god-forgives)
- **Total Film**, James Mottram (3/5): Mottram finds the film difficult to love but says it has moments to savour as a stylish exercise. He praises its visual and sonic atmosphere while faulting its lack of a moral core and fully developed characters. [Read](https://www.gamesradar.com/only-god-forgives-review/)
- **IndieWire**, Eric Kohn (C): Kohn finds the film lethargic and less inventive than Drive, arguing that its stylized violence overwhelms its potential. He praises Kristen Scott Thomas’s blunt, unhinged performance as an enlivening contrast to Gosling’s zombified presence. [Read](https://www.indiewire.com/criticism/culture/review-how-only-god-forgives-suggests-ryan-goslings-shtick-has-grown-thin-36568/)
- **The AV Club**, A.A. Dowd (C): Dowd finds the film visually striking but rarely engaging, and says its revenge story fails to generate excitement. He praises Refn’s atmospheric direction and the hypnotic score, while faulting the film’s emotional emptiness. [Read](https://www.avclub.com/only-god-forgives-1798177416)
- **Evening Standard** (35/100, inferred): The critic finds the film strange and its slow-motion approach overextended. They praise its lush Bangkok cinematography, while faulting its sparse script and slow-moving characters. [Read](https://www.standard.co.uk/culture/film/only-god-forgives-cannes-film-festival-film-review-8626736.html)
- **The Independent**, Geoffrey Macnab (35/100, inferred): Macnab finds the film visually stunning but ultimately let down by a clunky plot and awkward dialogue. He particularly praises the cinematography and Gosling’s restrained performance. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/cannes-film-festival-2013-review-only-god-forgives-review-ryan-gosling-and-nicolas-winding-refn-reunite-for-this-bangkok-revenge-thriller-8627248.html)
- **Film Comment**, Jonathan Robbins (30/100, inferred): Robbins presents the film as a stylized but hollow collection of violent set pieces. He singles out its fight scenes, describing them as money shots rather than meaningful drama. [Read](https://www.filmcomment.com/review-only-god-forgives-nicolas-winding-refn/)
- **The New Yorker** (30/100, inferred): The review is sharply critical of the film’s numbing violence and stylized world. It singles out Kristin Scott Thomas for bringing comic relish to her role. [Read](https://www.newyorker.com/goings-on-about-town/movies/only-god-forgives-2)
- **Variety**, Peter Debruge (30/100, inferred): Debruge finds the film stylish but emotionally hollow, with Gosling’s near-catatonic performance making it difficult to invest in Julian. He singles out Kristin Scott Thomas’s commanding, campy turn, though he ultimately finds even her performance rings hollow. [Read](https://variety.com/2013/film/reviews/cannes-film-review-only-god-forgives-1200486200/)
- **Slant Magazine**, Jordan Cronk (25/100, inferred): Cronk finds the film visually striking but ultimately shallow and weakened by clichés. He praises Refn’s atmospheric compositions while criticizing the one-dimensional characters and caricatured antagonists. [Read](https://www.slantmagazine.com/film/cannes-film-festival-2013-only-god-forgives-review/)
- **The New York Times**, Manohla Dargis (25/100, inferred): The review is negative, finding the film more style than substance. It singles out the movie’s highly stylized presentation as a central weakness. [Read](https://www.nytimes.com/2013/07/19/movies/in-only-god-forgives-a-mother-is-bent-on-revenge.html)
- **Los Angeles Times**, Betsy Sharkey (20/100, inferred): Sharkey finds the film a brutal, overreaching disappointment with little meaning or emotion. She praises the precise framing and atmosphere early on, but criticizes the thin characters and muddled plot. [Read](https://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-only-god-forgives-review-20130719-story.html)
- **Time Out**, Dave Calhoun (1/5): The review is strongly negative, finding the film empty and silly. It says the electronic score, neon, zombie-like performances and violent scenes fail to disguise those flaws. [Read](https://www.timeout.com/movies/only-god-forgives)
- **Vulture**, David Edelstein (10/100, inferred): Edelstein finds the film excruciatingly bad, criticizing its solemn, stylized presentation and Gosling’s performance. He considers Kristin Scott Thomas the standout, praising how her campy role cuts through the film’s solemnity. [Read](https://www.vulture.com/2013/07/movie-review-only-god-forgives.html)
- **Den of Geek**, Nick Allen (4/5): The critic praises the film as a richly atmospheric, visually memorable work, while acknowledging that its protagonist and storytelling have familiar flaws. He especially singles out the cinematography and the lingering beauty and brutality of its imagery. [Read](https://www.denofgeek.com/movies/only-god-forgives-review/)
- **Digital Spy**, Ben Rawson-Jones (4/5): The critic finds the film mesmerising and terrific, though its ambiguity and slow pace may alienate some viewers. They praise its hypnotic neon-soaked style and the performances of Ryan Gosling and Kristin Scott Thomas. [Read](https://www.digitalspy.com/movies/a501629/only-god-forgives-review-ryan-gosling-stars-in-mesmerising-thriller/)
- **Paste**, Tim Grierson (6.5): Grierson finds the film visually ravishing and endlessly watchable, but says it offers little of real life. He singles out its striking compositions and atmospheric score for praise, while criticizing its dull central character and thin story. [Read](https://www.pastemagazine.com/movies/only-god-forgives)
- **The Playlist** (64/100, inferred): The page appears to be the publication’s review, but its text is inaccessible. No verdict or specific praise or complaint can be verified from the supplied page. [Read](https://theplaylist.net/review-nicolas-winding-refns-only-god-forgives-starring-ryan-gosling-20130717/)
- **Eye for Film**, Robert Munro (60/100, inferred): Munro finds the film deliberately difficult and often incoherent, but says it has moments of breathtaking clarity. He praises the foreboding score and the vividly saturated imagery of Bangkok. [Read](https://www.eyeforfilm.co.uk/review/only-god-forgives-2013-film-review-by-robert-munro)
- **HeyUGuys**, Craig Skinner (2/5): The critic finds the film dull, empty, and far less compelling than Drive. They praise its handsome visuals, Cliff Martinez’s score, and Kristin Scott Thomas’s darkly comic performance, while faulting the thin story and Gosling’s somnambulistic acting. [Read](https://www.heyuguys.com/only-god-forgives-review/)
- **The Skinny**, Chris Buckle (★★): Buckle finds the film disappointingly close to failure, despite its stylish execution. He praises its meticulously designed frames and neon-drenched atmosphere, but criticizes the ponderous dialogue and numbing violence. [Read](https://www.theskinny.co.uk/film/new-releases/only-god-forgives)
- **The Wrap** (10/100, inferred): The critic finds the film soulless and shallow, despite its striking visual style. They single out Kristin Scott Thomas’s performance for praise, while condemning the violence as empty spectacle. [Read](https://www.thewrap.com/cannes-review-soulless-despicable-only-god-forgives-shuts-and-slices-limbs-93186/)

## Details

- **Director:** Nicolas Winding Refn
- **Director:** Nicolas Winding Refn
- **Writer:** Nicolas Winding Refn
- **Cinematography:** Larry Smith
- **Editor:** Matthew Newman
- **Music:** Cliff Martinez
- **Production design:** Beth Mickle
- **Costume design:** Wasitchaya Mochanakul
- **Producer:** Lene Børglum, Sidonie Dumas, Vincent Maraval
- **Cast:** Ryan Gosling as Julian; Kristin Scott Thomas as Crystal; Vithaya Pansringarm as Chang; Rhatha Phongam as Mai; Gordon Brown as Gordon; Tom Burke as Billy; Byron Gibson as Byron; Sahajak Boonthanakit as Kim
- **Runtime:** 1h 29m
- **First release (France):** 22 May 2013
- **Genres:** Drama, Thriller, Crime
- **Budget:** $5 million
- **Box office:** $10 million
- **Trailer:** https://www.youtube.com/watch?v=XiSq-7QQDQg

## Where to watch in Panama

Not streaming, renting or buying in Panama at the last check.

Also available in: AT, AU, BE, CA, CH, DE, DK, EE, FI, FR, GB, IE, IL, IT, LT, NL, NO, NZ, SE, UA, US. Add `?region=XX` to this URL for another country.

## Awards

- Sitges Film Festival Best cinematography 2013: Sitges Film Festival Best cinematography (won)

## If you liked this

- *Le Samouraï* (1967): Controlled performances and spare spaces make criminal routine feel quietly threatening.
- *Suspiria* (1977): Colour and sound make its hostile interiors worth getting lost in.
- *Sonatine* (1993): Long stretches of waiting make the abrupt violence harder to dismiss.
- *A Bittersweet Life* (2005): Formal precision and wounded pride give its violence a stronger emotional charge.
- *The Neon Demon* (2016), Fi1m 61: Another study of cruelty whose colour and sound can sustain our interest. — [Fi1m page](https://film.one/film/the-neon-demon.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/only-god-forgives