Only God Forgives (2013)

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.

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.

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.

The visible headline suggests a positive but atmospheric verdict. It singles out the film’s mesmerising, moody, and violent qualities.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

The review is negative, finding the film more style than substance. It singles out the movie’s highly stylized presentation as a central weakness.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.