"The right to bear arms. The right to bury your son."
"Underpay your staff. Underearn."
"Will you? -No Dad!"
"Shareholders meeting Tues. Company announcement Weds."
"Heatwave. Cold beer."
"Tadaima!
-Yokatta!"
"Man, that thing you love so much? I taught your girlfriend."
"Sweetheart. If I didn't love you, I would love someone else."
"Are you sure this low growling comes from the TV...?"
"They say "don't stick your fingers in the mains, it'll kill you". They were right."
"They say "never give a stranger a lift". I now drive a new car."
"White boy, white girl. Black baby???"
"He / She doesn't see me,"
Monday, 26 October 2015
Saturday, 24 October 2015
"Only God Forgives" review -warning: spoilers!
"Revolver Part Two aka "Only God Forgives" summed up: a film that tries so hard to be "cool" that it almost succeeds.
Eye-candy Ryan looks all ponderous and brooding, framed by elaborate Oriental décors and photographed in violently clashing coloured spotlights.
For some reason left unexplained, his less good looking brother (he's got a cleft lip, that's got to mean something) goes and does something horrible. A mysterious man -revealed to be a police officer- gets on the scene and proceeds to dispatch some rather unusual rough justice.
Eye-candy Ryan stares at the camera. Moves from an electric blue background to a blood red one. Looks inexpressive and takes the pose. He sashays hypnotically down a gold corridor to a royal purple room. The gorgeous wallpaper competes with the exquisite ironwork on the windows.
David Fincher's and Wong-Kar wai's chief-operators get seriously sweaty, Gaspar considers sueing for plagiarism, only to remember that he will be credited at the end, oh yeah.
Cool looking Ryan looks cool in a tight t-shirt, tight trousers and sometimes a tight suit. We are led to understand that he is hopelessly devoted to a -fancy that, rather kinky- beautiful Thai girl.
His mother arrives to avenge her "dead first son" (sic). ... She is not a pleasant person. American-Kirszsten-the-bitch (played by the great Kristin Scott Thomas) thinks she can have her way over the local (Thai) scene. She will be proved wrong.
Impeccably mannered locals don't take offence at her appalling rudeness though. Why, you would almost call them inscrutable.
American-Kirszsten-the-bitch sets in motion a devastating chain of events.
Various violent scenes ensue.
Eye-candy Ryan poses against a gold background framed with purple dragons and scowling painted figures. Emerald green splurges of colour brighten up the darkness and red neon light flashes against silver sheets of metallic covers -what can this all mean? He doesn't seem to be quite sure what to do.
Poor old Ryan gets humiliated by his monster of a mother in front of his "girlfriend". The backdrop colour scheme's quite nice though; so is the lighting.
Meanwhile, the avenging angel -or devil incarnate, up to you to decide- methodically retraces the chain of command which ordered the abovementioned violent scenes. Ladies are advised in no uncertain terms to close their eyes and keep them closed no matter what they hear; men are told to watch and take note.
The cop's methods involve a sword, fruit knives, and an icepick (see a leitmotiv developing here?). It would appear that the Thai police is not overtly fond of drug dealers but, hey, let's not read too much into this.
Meanwhile, eye-candy Ryan is confused. He has just shouted at his beautiful exotic lady but doesn't seem to have gained her respect, 'bitch won't put out or something. Come to think of it, their relationship has not been shown to be consummated -a detail that should set alarm bells ringing considering essetera.
Ryan is now sliding sideways through successive blocks of colour, sometime incandescent blue, sometimes blinding red, only pausing to stand under highly circonvoluted lighting designs that -I may go on a limb here- almost make him look like he's in prison. I know, crazy!
Back at the ten-star hotel, American-Kirszsten-the-bitch is having second thoughts. She starts to smell the coffee as the bodies pile up and not a single one of them belongs to those damn cops who killed her "massive cock endowed" (sic) son. Could it be she has badly misjudged that Thai captain...?
Eye-candy Ryan is dumbfounded. How can he continue to get knocked back -literally, wha ha ha!- left, right and centre when he has mainly spent his time gliding through sparkling clean super stylish environments complete with neo-classical soundtrack in no way reminiscent of David Lynch's Badalamenti and strategically posted spotlights that dispense atomic rays of pure colour? For crying out loud, he is Ryan fuckin' Gosling, what's going on here!!!*
To make matters worse, his good looks are then ruined by the Thai boxing champion cop -surely that's unfair advantage...?
Our Ryan stares at the camera under dazzling UV ray lights. He strikes a pose. Retreats into darkness.
It is too late, though. As logic has it, American-Kirszsten-the-bitch and her good-for-nothing son have placed themselves on an ineluctable collision course with their nemesis and you can somehow predict that this is not going to end well, oh no. Mind you, you can also bet that the photography will be nice.
And the colours, don't forget the colours. They'll be nice as well.
The End.
In short: looks fabulous / that Ryan Gosling is not too shabby looking either, is he?
Correspondences: David Lynch's "Lost Highway" - Guy Ritchie's "Revolver" - Jean-Pierre Melville's "le Cercle rouge" - Takeshi Kitano's "Hana-Bi" - Takashi Miike's "Dead On Arrival" opening scene - Wong Kar-wai's "Fallen Angels" (to name but one) - Derek Cianfrance's "Blue Valentine" love motel scene - Michael Mann's "Heat", etc.
*Yes, yes, I know. From "The Believer" to "The Place Beyond The Pines" to "Blue Valentine" and others, this actor has in fact chosen to take a much more commendable path. Guess what, I may not have been entirely serious there.
Eye-candy Ryan looks all ponderous and brooding, framed by elaborate Oriental décors and photographed in violently clashing coloured spotlights.
For some reason left unexplained, his less good looking brother (he's got a cleft lip, that's got to mean something) goes and does something horrible. A mysterious man -revealed to be a police officer- gets on the scene and proceeds to dispatch some rather unusual rough justice.
Eye-candy Ryan stares at the camera. Moves from an electric blue background to a blood red one. Looks inexpressive and takes the pose. He sashays hypnotically down a gold corridor to a royal purple room. The gorgeous wallpaper competes with the exquisite ironwork on the windows.
David Fincher's and Wong-Kar wai's chief-operators get seriously sweaty, Gaspar considers sueing for plagiarism, only to remember that he will be credited at the end, oh yeah.
Cool looking Ryan looks cool in a tight t-shirt, tight trousers and sometimes a tight suit. We are led to understand that he is hopelessly devoted to a -fancy that, rather kinky- beautiful Thai girl.
His mother arrives to avenge her "dead first son" (sic). ... She is not a pleasant person. American-Kirszsten-the-bitch (played by the great Kristin Scott Thomas) thinks she can have her way over the local (Thai) scene. She will be proved wrong.
Impeccably mannered locals don't take offence at her appalling rudeness though. Why, you would almost call them inscrutable.
American-Kirszsten-the-bitch sets in motion a devastating chain of events.
Various violent scenes ensue.
Eye-candy Ryan poses against a gold background framed with purple dragons and scowling painted figures. Emerald green splurges of colour brighten up the darkness and red neon light flashes against silver sheets of metallic covers -what can this all mean? He doesn't seem to be quite sure what to do.
Poor old Ryan gets humiliated by his monster of a mother in front of his "girlfriend". The backdrop colour scheme's quite nice though; so is the lighting.
Meanwhile, the avenging angel -or devil incarnate, up to you to decide- methodically retraces the chain of command which ordered the abovementioned violent scenes. Ladies are advised in no uncertain terms to close their eyes and keep them closed no matter what they hear; men are told to watch and take note.
The cop's methods involve a sword, fruit knives, and an icepick (see a leitmotiv developing here?). It would appear that the Thai police is not overtly fond of drug dealers but, hey, let's not read too much into this.
Meanwhile, eye-candy Ryan is confused. He has just shouted at his beautiful exotic lady but doesn't seem to have gained her respect, 'bitch won't put out or something. Come to think of it, their relationship has not been shown to be consummated -a detail that should set alarm bells ringing considering essetera.
Ryan is now sliding sideways through successive blocks of colour, sometime incandescent blue, sometimes blinding red, only pausing to stand under highly circonvoluted lighting designs that -I may go on a limb here- almost make him look like he's in prison. I know, crazy!
Back at the ten-star hotel, American-Kirszsten-the-bitch is having second thoughts. She starts to smell the coffee as the bodies pile up and not a single one of them belongs to those damn cops who killed her "massive cock endowed" (sic) son. Could it be she has badly misjudged that Thai captain...?
Eye-candy Ryan is dumbfounded. How can he continue to get knocked back -literally, wha ha ha!- left, right and centre when he has mainly spent his time gliding through sparkling clean super stylish environments complete with neo-classical soundtrack in no way reminiscent of David Lynch's Badalamenti and strategically posted spotlights that dispense atomic rays of pure colour? For crying out loud, he is Ryan fuckin' Gosling, what's going on here!!!*
To make matters worse, his good looks are then ruined by the Thai boxing champion cop -surely that's unfair advantage...?
Our Ryan stares at the camera under dazzling UV ray lights. He strikes a pose. Retreats into darkness.
It is too late, though. As logic has it, American-Kirszsten-the-bitch and her good-for-nothing son have placed themselves on an ineluctable collision course with their nemesis and you can somehow predict that this is not going to end well, oh no. Mind you, you can also bet that the photography will be nice.
And the colours, don't forget the colours. They'll be nice as well.
The End.
In short: looks fabulous / that Ryan Gosling is not too shabby looking either, is he?
Correspondences: David Lynch's "Lost Highway" - Guy Ritchie's "Revolver" - Jean-Pierre Melville's "le Cercle rouge" - Takeshi Kitano's "Hana-Bi" - Takashi Miike's "Dead On Arrival" opening scene - Wong Kar-wai's "Fallen Angels" (to name but one) - Derek Cianfrance's "Blue Valentine" love motel scene - Michael Mann's "Heat", etc.
*Yes, yes, I know. From "The Believer" to "The Place Beyond The Pines" to "Blue Valentine" and others, this actor has in fact chosen to take a much more commendable path. Guess what, I may not have been entirely serious there.
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