Explain

Explain.

Better than Drive

HANDS

People don't forgive. Only God forgives.

This

It's simple. The Oedipal stuff doesnt matter much.

It's a beautifully realized genre film. Our ostensible protagonist is just the ineffectual little brother of a dead mook. It's his doomed journey to find some kind of revenge based on a sense of duty. As it's doomed, fate/God *cuts* it short.

The film gains context right near the end, when the mother reveals that Goose has been running from killing his father with his bare hands his entire life.

He is filled with regret and hates the life he grew up in. He seeks forgiveness and the movie is his coming to terms with what will bring him peace. He is struggling with doing what his family wants and what he knows is right.

What is there to explain?

The Thai cop is God.

Julian is basically Refn projecting his feelings of emasculation and inferiority onto a character. He's a failure as a man, that's why he wants to go back to his mommy's womb.

TAKE OFF THE AUTISM

This is pretty good, everyone talks about the cop being god but this makes a lot of sense.

TAKE IT OFF

>memers say Thai cop is God
>title is Only God Forgives
>Thai cop never forgives even once

if anything the whole point was that the Thai cop WASN'T God, but was still some force of nature beyond humans that made him seem invincible

Drive is literally a shit version of Thief

This nonsense is so inorganic to any sense of globetrotter restlessness or anything explicitly or metaphorically to do with British or American colonialism that it just feels derivative. That Kubrickian scene in Drive of dead-eyed strippers watching an assault gets extended here in a more elaborate whorehouse sequence where catatonic hookers bear mute witness to instances of police corruption. Refn’s tableau of organdy-gowned call-girls listening to pop while watching violence in a bouquet-bedecked whorehouse is the ultimate David Lynch parody.

Gosling and Refn have art ambitions–a strange sense of fun. But how can film culture progress with fantasies like this? There’s no shock or outrage left. Refn relies upon a level of menace (unerotic, non-provocative) that precludes caring about or responding to violence, vulnerability, mortality. This is cinema for unsophisticated viewers who don’t already know Bunuel’s eye-slashing, Altman’s Coke bottle assault or Shakespeare/Julie Taymor’s Titus. Children of Kubrick, Friedkin, Lynch and Tarantino, they remain infantile about movies.

>>Thai cop never forgives even once

He forgave Julien by letting him keep his life

No, it isnt, even if it's the same font. It's cute you may have seen Thief, but despite superficial similarities they're wholly different.

>Goose
who the fuck is that ?

He forgives Julien and that guy with the retarded son

found the redditor

God isn't in the movie.

God is everywhere

He would have to appear somewhere specific to forgive.

this is true in some parts

>But how can film culture progress with fantasies like this?

What is this moron even talking about? Where are his arguments?

>Refn relies upon a level of menace

Based on what?

>literally forgives all of those who ask for redemption

Wow is Sup Forums retarded or what

It's better than Neon Demon. Fuckin' great film. I saw that documentary about it recently, so does Refn not like it or some shit?