Director, this is Muay Thai, Thai Boxing, one of the bloodiest martial arts in the world, professional Muay Thai fighters can kick and break coconut trees with their calves, so fierce, the Muay Thai fighters under your camera are just like glass bottles. Don't you dare to hide or touch, shoot like this, aren't you afraid to be disappointed by the fans who come with the signs of Muay Thai?
Look at the most critical scenes in the play, they all have similar problems, that is, they only play when the airs are set up. It was too plain. The enemy and us fought three or four times before and after, and there was no emotion in punches and kicks.
The flat-faced Ren Gosling put on a Ren Gosling-like silence to look at the enemy. The enemy made two eyes with him, and the two sides raised their elbows in a tacit understanding to start the fight; the expressions in the eyes were almost plastic. Said: "The director wants us to start fighting, get ready, three two one...". There is no spark at all in the confrontation, how can I look passionately?
Ryan Gosling (Ryan Gosling), the Muay Thai fighter wants to avenge his brother who was killed by the gang, so he ran around to overthrow Thailand. I watched it for half an hour and almost couldn't help it. The Thailand that the director wants to get is a fictitious and impossible zone, so that the protagonist who loves to fight will be greedy and enmity. I have seen a lot of movies that feature black violence, and it is the first time that I have been so weak.
After many twists and turns, although the protagonist also killed a few people, I always feel that he actually doesn't have much willingness to avenge his brother? It's more like my mother's mouthing, so the son had to find someone to fight with him as if reluctantly.
Quentin, one of the leaders of violent aesthetics, in his "Kill Bill" (Kill Bill), spent the first half of the film only to explain the nature of anger, in order to brew the heroine's determination to brutally kill her compatriots in the future.
And director Nicolas Winding Refn's predecessor, "Sunset Car God", also showed the possibility of violent aesthetics that can be used in the simplest style. Cheshen can smash every front tooth of the villain with a silent hammer only because he falls in love with a woman. Simple, but passionate.
This time, "Unforgivable" is a bit reversed. The protagonist is like an avenger who makes the audience unable to feel the desire for revenge. Naturally, it is impossible for the violent aesthetics to establish a strong force. To replace it, director Refn and photographer Larry Smth created a dazzling image maze. With a composition full of color contrast in each scene, a maze of both true and false was stacked for the entire film. In this semiotic labyrinth created for film critics, it is a group of people who do not understand what they are doing.
I have always felt that people are not sages, and any famous director may have the experience of unbearable works coming out at the peak. "Unforgivable" came out after Refn's famous film "Drive". It is only natural that the same director, the same male protagonist, and the same photography are compared. This time "Unforgivable Sin" is precisely the so-called unbearable work.
"Unforgivable" wanted to make a cold tone for an hour and a half, but after reading it, what was behind the cold tone was not violent silence, but silence with nothing. Nicolas Winding Refn, who has directed "Drive", this time really made a film that combines the shortcomings of his previous work.
The composition of this film is really beautiful, but it's a pity that the beauty is so colorful that it can't make up for the lack of color in the plot of the movie.
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