Nicolas Winding Refn’s follow-up to Drive takes him farther away from traditional narrative and deeper into abstract expressionism. His painter’s eye makes Only God Forgives something beautiful to behold, awash in deep reds and geometric, carefully thought out shot compositions. But what it amounts to, in the end, is the careful work of a serial killer — not literally out there killing women but indulging in one bloody killing after another, practically licking the knife afterwards. The crowd here in Cannes clapped enthusiastically. It will be the runaway favorite of the art house crowd, no doubt.
Ryan Gosling is given even less dialogue in Only God Forgives than he had in Drive, where he also played an ambient hottie automaton saving the vulnerable Carey Mulligan from the horrors of evil. Here, there is no such goodness afoot, or whatever goodness there is become swallowed up by casual evil. No need to muddy the waters when the money shot is exposed ribs with blood gurgling out.