dead on i was about to mention G. Noe. What is Noe up too now? I know he contributed to some anthology flick two years ago or so..His last big visual masterpiece left me crippled all over!
Only God Forgives Trailer (Refn & Gosling)
- Thread starter jay211
- Start date
dead on i was about to mention G. Noe. What is Noe up too now? I know he contributed to some anthology flick two years ago or so..His last big visual masterpiece left me crippled all over!
Gosling is one of the most overrated trashes in Hollywood.
TheGodling
Los Ingobernables de Sala de Cine
Just that, he does a lot shorts and/or contributions to anthology movies (which are essentially shorts as well), and apparently hang out with Refn on the set of his movies (Refn called in Noe to help on the face stomping scene in Drive, as well as some stuff for OGF).
Premeditated
MANDE KANG
well, I felt Drive was overrated by people any ways and I've even gone as far as to say, I enjoyed Faster better.
Still gonna see it for myself because I like Refn's other projects. I'll judge it for myself.
but smh @ 17 lines
Still gonna see it for myself because I like Refn's other projects. I'll judge it for myself.
but smh @ 17 lines
Read the script yesterday and enjoyed it quite a bit. Can't wait to see how it looks on screen.
Anybody else who read the script a Community fan? For the first bit I had a hard time not picturing Ken Jeong whenever I read the name Chang.
Anybody else who read the script a Community fan? For the first bit I had a hard time not picturing Ken Jeong whenever I read the name Chang.
Cannes Diary, Day 8: Ryan Goslings New Movie Booed Out of France
Cannes Diary, Day 8: Ryan Gosling’s New Movie Booed Out of France - Hollywood Prospectus Blog - Grantland
Movie Pictures | Movie Posters - Yahoo! Movies
Cannes Diary, Day 8: Ryan Gosling’s New Movie Booed Out of France - Hollywood Prospectus Blog - Grantland
Movie Pictures | Movie Posters - Yahoo! Movies
Let us know how the Muy Thai scenes are like?
lol @ Booed out France.
lol @ Booed out France.
TheGodling
Los Ingobernables de Sala de Cine
Saw this movie yesterday and it was 
For the record, if you thought Drive was boring,or too slow or whatever, stay the fukk away from this. This movie is not for you, it was never intended for you, just go do something else. With that said, this shouldn't be compared with Drive. Thematically and stylistically, as I expected, it is more in league with Fear X and Valhalla Rising. The story is abysmal and relies more on vague symbolism and the continuous atmosphere of dread. It plays out like a fever dream, it crawls under your skin and tries to devour you. In terms of 'entertainment value' it offers nothing, and it never attempts too, yet in terms of film art it you'll be hard pressed to find a more visually striking picture all year.
Every image is shot so perfectly it almost feels clinical. It's hard to imagine that it's possible to make a movie with such a flawless visual style. Every angle, every camera movement, every person's position within the frame, it's impeccable. Cliff Martinez returns for the soundtrack which is part traditional Thai, part synthesizer music, but it's not the dreamy 80s synthesizer music of Drive fame, these synths don't lift you up, they drag you down to hell.
And in the middle of it are the Godling, Kristin Scott Thomas and Vithaya Pansringarm. It's important I name them all three because while the Godling might be the big movie star/box office draw, the movie is about the circle of violence created by the three interacting with each other. In essence the conflict is about the love (or lack thereof) of parents for their children, which is the biggest hint I can give to anyone hoping to understand the film when they go see it.
Anyway, regarding the violence, it's on the same level of the face stomping in Drive, or that scene of Albert Brooks stabbing the guy with the fork and the knife, but it's more prevalent with such acts taking place every five to ten minutes, although with more ruthlessness to them. It looks pretty great too, one guy gets cut across the chest with a sword and you actually see the cut ribs in his open, blood spewing wound.
So in the end I loved every second of it, although it's not a movie I'd openly suggest. I'd go as far as to say Drive's success will become a burden for this film. People will hold it against the film that it's not another Drive, and they will hold it against Refn, even though Refn made films like this long before Drive and will only make the films he wants to make, not the ones that people want him to make.
I salute the man for that, because otherwise we would never get such uncompromising, nightmarish piff to the big screen.
For the record, if you thought Drive was boring,or too slow or whatever, stay the fukk away from this. This movie is not for you, it was never intended for you, just go do something else. With that said, this shouldn't be compared with Drive. Thematically and stylistically, as I expected, it is more in league with Fear X and Valhalla Rising. The story is abysmal and relies more on vague symbolism and the continuous atmosphere of dread. It plays out like a fever dream, it crawls under your skin and tries to devour you. In terms of 'entertainment value' it offers nothing, and it never attempts too, yet in terms of film art it you'll be hard pressed to find a more visually striking picture all year.
Every image is shot so perfectly it almost feels clinical. It's hard to imagine that it's possible to make a movie with such a flawless visual style. Every angle, every camera movement, every person's position within the frame, it's impeccable. Cliff Martinez returns for the soundtrack which is part traditional Thai, part synthesizer music, but it's not the dreamy 80s synthesizer music of Drive fame, these synths don't lift you up, they drag you down to hell.
And in the middle of it are the Godling, Kristin Scott Thomas and Vithaya Pansringarm. It's important I name them all three because while the Godling might be the big movie star/box office draw, the movie is about the circle of violence created by the three interacting with each other. In essence the conflict is about the love (or lack thereof) of parents for their children, which is the biggest hint I can give to anyone hoping to understand the film when they go see it.
Anyway, regarding the violence, it's on the same level of the face stomping in Drive, or that scene of Albert Brooks stabbing the guy with the fork and the knife, but it's more prevalent with such acts taking place every five to ten minutes, although with more ruthlessness to them. It looks pretty great too, one guy gets cut across the chest with a sword and you actually see the cut ribs in his open, blood spewing wound.
So in the end I loved every second of it, although it's not a movie I'd openly suggest. I'd go as far as to say Drive's success will become a burden for this film. People will hold it against the film that it's not another Drive, and they will hold it against Refn, even though Refn made films like this long before Drive and will only make the films he wants to make, not the ones that people want him to make.
I salute the man for that, because otherwise we would never get such uncompromising, nightmarish piff to the big screen.
Saw this movie yesterday and it was
For the record, if you thought Drive was boring,or too slow or whatever, stay the fukk away from this. This movie is not for you, it was never intended for you, just go do something else. With that said, this shouldn't be compared with Drive. Thematically and stylistically, as I expected, it is more in league with Fear X and Valhalla Rising. The story is abysmal and relies more on vague symbolism and the continuous atmosphere of dread. It plays out like a fever dream, it crawls under your skin and tries to devour you. In terms of 'entertainment value' it offers nothing, and it never attempts too, yet in terms of film art it you'll be hard pressed to find a more visually striking picture all year.
Every image is shot so perfectly it almost feels clinical. It's hard to imagine that it's possible to make a movie with such a flawless visual style. Every angle, every camera movement, every person's position within the frame, it's impeccable. Cliff Martinez returns for the soundtrack which is part traditional Thai, part synthesizer music, but it's not the dreamy 80s synthesizer music of Drive fame, these synths don't lift you up, they drag you down to hell.
And in the middle of it are the Godling, Kristin Scott Thomas and Vithaya Pansringarm. It's important I name them all three because while the Godling might be the big movie star/box office draw, the movie is about the circle of violence created by the three interacting with each other. In essence the conflict is about the love (or lack thereof) of parents for their children, which is the biggest hint I can give to anyone hoping to understand the film when they go see it.
Anyway, regarding the violence, it's on the same level of the face stomping in Drive, or that scene of Albert Brooks stabbing the guy with the fork and the knife, but it's more prevalent with such acts taking place every five to ten minutes, although with more ruthlessness to them. It looks pretty great too, one guy gets cut across the chest with a sword and you actually see the cut ribs in his open, blood spewing wound.
So in the end I loved every second of it, although it's not a movie I'd openly suggest. I'd go as far as to say Drive's success will become a burden for this film. People will hold it against the film that it's not another Drive, and they will hold it against Refn, even though Refn made films like this long before Drive and will only make the films he wants to make, not the ones that people want him to make.
I salute the man for that, because otherwise we would never get such uncompromising, nightmarish piff to the big screen.
Sounds ill, about what I expected. Refn has such beautiful camerawork/cinematography, easily one of my most anticipated movies of the summer.
He Who Posts Well
Superstar
that's the most potent etherous statement I've ever laid my eyes upon. Not only did dude feel violated and shytted upon, he was bored while it happened. This makes me want to see the movie more. Just to see this supposed train wreck of a movie.
Roman Brady
Nobody Lives Forever
Stone Cold
Superstar
the one film in which the bad reviews turn out to be promotion for the film
will be watching
will be watching
TheGodling
Los Ingobernables de Sala de Cine
Yeah, every couple of years there's this nihilistic arthouse-gone-mad flick that got Cannes in an uproar and become cult classics. Irreversible, Antichrist, it happens all the time.
