Gravity Film Analysis (What Its Really About)

Only God Forgives Analysis / Review



Only God Forgives is a Crime/thriller directed by Nicholas Winding Refn, fresh off of his success with his previous film, Drive. The film is about a Thai boxing ring manager called Julian, who is a criminal drug launderer that seeks out the killer of his criminal brother, who was killed by a Thai police Lieutenant by the name of Chang. Chang is referred to as The Angel Of Vengeance, as he dispenses justice on the brutal streets of Bangkok.

The film blends genre's in fairly interesting ways, as this film is essentially a western masquerading as a eastern neo noir crime film. It features tropes associated with westerns (silent characters, justice being brought to the lawless, ect) and has a slow, mesmerizing pace that borders on the surreal and fantastical. The director also said this about the film, "From the beginning, I had the idea of a thriller produced as a western, all in the Far East, and with a modern cowboy hero." Many people would assume that the "cowboy hero" would be Julian, but it becomes apparent over the course of the film that he was most likely subtlety referring to Chang.

The cast is lead by Ryan Gosling, who despite top billing, is actually very underplayed and the film is essentially about his redemption at the hands of Chang, the Thai police Lieutenant played by relative newcomer Vithaya Pansringarm. The films features a heavy cast of fairly unknown Asian actors, since the film is set in Bangkok. This choice of setting combined with the gives a sense of disconnection, as we are experiencing a culture we are unfamiliar with, which helps identify with the few American characters who feel the same way. It links to westerns in a way, with the trope of the stranger in a strange town. Its the films clashing of east and west which is interesting as we feel like we are watching a western fused with elements of samurai films, though the film takes more of its cues from Sergio Leonne rather than Akira Kurosawa.

The setting feels very authentic, as the film was shot on location in Bangkok. The setting feels lived in, mysterious, intimidating, exotic, atmospheric, and dangerous. The film focuses more on the seedy side of Bangkok, which paints its setting as a very grim, uncompromising reality. The sense of surreal mysticism that the neon drenched streets of Bangkok at night creates is almost dream like, and covers the screen in a hellish red and orange glow with slight variations with other bright colours, a thematic artistic choice that makes the Bangkok setting look like hell has corrupted the earth. This contrasts with other parts of the film, where the colours are more pure, and elegant, which gives of a sense of more peaceful imagery, which is also important thematically.


The reason why the colours are so thematic is because of the hidden symbolic, or possibly real nature of the films premise. Simply put, Chang is God, and he is unleashing his wrath on the hellish landscape of a seedy Bangkok, one sinner at a time. Whether or not he is God, or is a man who thinks he is god, is left ambiguous. Although Nicholas Winding Refn as said in interview that he is a man who thinks he is God, This doesn't rule out the fact that he at least symbolically represents God and is portrayed in a larger than life, powerful and highly respected light. His fellow police officers are angels, who are with him almost all the time and have huge respect for him. Whenever we see Chang at his home, the films lighting and visuals become more peaceful and pure. He home is surrounded by nature, which gives off the idea of heaven, or paradise, and that Chang (God) is residing in a place of peace and purity, while the inhabitants of the corrupt seedy Bangkok are condemned to rainy, smoggy, moody looking areas with the hellish red and orange lights bearing down.



The red and orange lights provide a fiery hellish colour scheme.






The red hellish image of Bangkok on the horizon, bordering Chang’s peaceful green paradise.



 The contrast is very strong and visually Operatic. The way the film is shot adds to its theme, with its cinematography using colour as a way of symbolically portraying a subtle hell on earth scenario, in which criminals prey on those who are not corrupted. The films use of neon lights gives the film a dreamlike quality, which helps sell the fantastical and otherworldly elements of the film.
The Chang Characters role as God is demonstrated in subtle ways which border on the supernatural. As to whether or not Change in literally God in human form is left ambiguous but it is hinted in bits of clever visual design and direction. For example Chang uses a sword to kill criminals, but when he draws the sword from his back, its as if the sword is being pulled out of nowhere, as we never see him with the sword actually on his back. He also appears to show a level of all knowing abilities, as he senses the incoming danger of a gun fight before it even occurs, and at one point demonstrates his talent for vanishing completely after turning a corner while he is being followed. Also a very important hint, is that the director directed the actor playing Chang by literally whispering into his ear "You are God".

Chang reaches for his sword.



The music is a mix of instrumental music and Karaoke songs. The Karaoke songs are very important thematically as the director said that in the region of the world where the film is set, Karaoke is considered "almost religious". Interesting thing for him for him say, especially interesting since its Change (God) who sings the Karaoke songs at a bar after he has brought a criminal to justice. In a way him singing is a symbolic way of  showing people in awe while in the attendance of God and hearing his voice reaching them. The looks on the faces of people in the Karaoke Bar while Chang is singing seems to support this, as they are mesmerized, and have a massive sense of respect for the man and hold him in very high regard.



Chang's fellow police officers act as either literal or symbolic angels on earth.




The instrumental music is brilliant in what it achieves. Because the film is basically a larger than life clash between good and evil, its appropriate that the film has music of high energy and operatic sounds. The score has both of those things, with the music being both surreal at times, sorrow filled, and pulse pounding. The films story is told primarily though visuals and music, with very sparse Dialogue, so the music at times acts as the voice of the situation, helping us paint a much larger more epic picture of what’s going on.
For example there is a fist fight in the film which is done is a very down to earth, heavy hitting way with a focus on realism. But the music makes the fight seems like a much bigger, epic feel and gives it a sense of larger than life purpose. The music in the scene is a mix of electronic music and what sounds like, and could possibly be, a electronic organ. The electronic organ sounds are very interesting as it evokes the sounds of a church organ, and links it to aggressive religious retribution. which makes sense in the context of the scene since Ryan Goslings character, Julian, is fighting Chang (God).

Also during the Karaoke scenes, Change is singing in front of  mural or painting of sorts that appears to be showing a long bridge or series of steps leading up though a cloudy sky. This image evokes heaven, and further suggests that Chang is God, singing from the heavens.


The image behind Chang shows a walkway or stairs leading through the clouds, and someone can be seen in the bottom right hand corner walking up it. The picture possibly represents heaven, with Chang prominently standing in front of it.

The film is edited is a way where we are entering and leaving reality at times. Julian has visions through out the film, where the scene will seamlessly go into what he is imagining or experiencing, with visual cues to let us know it is a vision (for example his shirt changes to a different colour in his vision, and then back to its original colour to let us know we are back in reality). The visions are directed with a quality reminiscent of Stanley Kubrick, with lots of long shots peering down hallways and creating a sense of surreal dread.
In a effort to evoke the feel of a western, many scenes have long drawn out moments before a big moment as a way of building suspense. For example the fist fight with Chang is done in the style of a stand off or dual from a western, with long shots showing the combatants opposite each other, and shots of close ups of the characters faces as they clench their fists while getting into a fighting stance. The films also uses its imagery as a way of foreshadowing later events. Early in the movie Julian is positioned in front of statue, and the statue appears to be looming over him in the background. This is a visual cue which evokes imagery of the fist fight with Chang later on in the film, in which Julian in knocked to the ground with Chang standing behind him, with his fists raised in the same position as the statue. The scene also cuts from Chang to the same statue to further imply the connection.


Foreshadowing for Chang’s fight and victory. Also the light above the statue makes it look like the statue is holding a sword, just like Chang who uses a sword.


Chang after knocking down Julian, mimicking the statue

Also present in the fight scene is some background detail which further adds to the red hellish visuals. There is a big neon dragon face watching over them, like some demon is observing the fight.




Only God Forgives is a very complex and challenging film, and its critical response is a clear sign of that. The film has polarised both critics and audiences, with people accuses it of style over substance, calling it shallow and having a lack of focus. Other critics and audience's have had the opposite reaction, and have praised the film for its ideas, pacing, and visuals. Some even call it a masterpiece. When I saw the film in the cinema the polarising effect of the film was on full display. People in the room were laughing at it out loud, cracking quotes, leaning over to their friends to trash it. 4 people walked out of the room and never came back about halfway through, just jumped ship before the film was even over.

The big problem here isn't the film, its the marketing. This film is a difficult one to sell, so the trailers basically made the film look like a action movie, with a quick pace and lots of action. But its not, its a character study, its a film about redemption in a symbolic hellish landscape. About the power of forgiving sins, but being burdened by them as a reminder to be a better person. Its story as a mystic quality, like their is something other worldly inhabiting each frame, like something is on a much larger scale than what’s being presented. Its story is told through imagery and music, rather than words or conversations. The director believes that silence is a good storytelling device in films, because it forces the viewer to engage with the film, to find what its saying on a more personal level instead of having it told to you.

Only God Forgives is fascinating, technically superb, and such a daring cinematic endeavor that its impossible to forget it. The films invites you to explore rather than tell you to, its imagery leaves room for many interpretations, and each frame is masterfully crafted with great cinematography and art direction. The film turns its premise on it head by making the audience assume Julian is the protagonist, when in reality he is the antagonist. He is a flawed man, and he has committed crimes he is not proud of, and he wants some form of retribution to save him, to change him. But he is constantly battling inner demons, his anger leads to conflict, he manipulative mother forces him to commit crimes, and he feels disconnected from his partner because he feels quilt for what he has done, and knows that what he does is wrong.

A big motif in the film is hands, and the idea that the hands committed the sin, so the hands are to be removed a way of removing the sin and forgiving the person. Julian has a vision of having blood on his hands, so he is constantly reminded of what he has done. He has trouble connecting with other people because he is ashamed of himself, and doesn't have direct connect with people unless it is an act of violence, something he feels tainted and cursed with. He is seeking a purpose, and doesn't want to just be a violent criminal, he wants to have a relationship, and he it hints he wants to be a boxer so he can fight for sport rather than for anger or in criminal activities.


His character has traits of Oedipus, his story and motivation are very similar. He fights Chang about of frustration, realising Chang is possibly God and he is angry at God because he feels he has been created to be the way he is rather than accepting that his mother is the source of his problems and is the one who manipulated him and his brother into getting into crime in the first place. After Chang beats him, and his mother asks him to kill Chang’s family, Julian realises that Change can be his chance for redemption and to be a better person. Julian realises that his mother ordered Julian’s crime partner to kill Chang’s wife and daughter along with Change, which Julian objects to. He shoots his crime partner before he ha to chance to shoot Chang’s daughter, his first big act of goodness in the film. The film ends on a somewhat happy ending in a way.

Julian offers himself to Chang so Julian can be forgiven, and Chang show shim no anger, but a subtle hint of understanding and gratitude for Julian because he stopped his daughters death. Chang then takes Julian to a peaceful forest, taking Julian out of the red Bangkok and into the pure peaceful location associated with Chang. Julian holds out his hands so he can be forgiven of his sins, and Chang cuts of his hands. The film ends with a final Karaoke song from Chang. The song is called "You're My Dream", and the lyrics somewhat symbolise Julian’s chance of a new start in life, with himself and with the girlfriend he was too ashamed of himself to be with, and can now be with now he can forgive himself.



Only God Forgives is remarkable thematically, and ends on a somewhat happy note as Julian’s character arc comes full Circle.  I loved the film and found it to be fascinating and brilliantly well made.

Ghost Rider:Spirit Of Vengeance Movie Review

Ghost Rider Spirit Of Vengeance has gotten an awful amount of backlash recently, with several critics and audiences bashing it for its lack of a deep story and even going as far as saying that the first one was better. In my honest opinion is think these negative claims do not do this movie justice, and I thought the movie was a tremendous amount of fun. The films directors Mark Neveldine and Brian Taylor have offered a fun, stylish and action packed thrill ride that is made even more entertaining by the awesomely over the top performance of Nicholas Cage as Johnny Blaze/Ghost Rider, the films main character.

The story is about Johnny Blaze, a man who made a deal with the devil to save his father from death, and ended up cursed in the process. This curse is the curse of the Ghost Rider, a demon with a flaming skull and body which Johnny transforms into from time to time and causes him to lose control and become a destructive soul consuming monster. Johnny has exiled himself to Eastern Europe and it has been 8 years since he was first cursed. He is approached one day by a man named moreau who offers to rid him of his curse in exchange for a job that he wants him to do. He wants Johnny to protect the life of a boy called Danny, who along with his mother are being pursued by the devil himself. The devil in human form as a man named Roarke needs the boy for his own purposes and uses mercenaries for the job. Johnny must keep the boy from danger at all costs and complete his task so that he can finally be rid of his curse.

This movie movies story is simple and effective and doesn't pad its self out with unnecessary plot choices. The story gives the Ghost rider a lot more screen time in this one compared the first film, which is defiantly an inprovment.

The films action scenes are one of the films strongest points, as they are just simply awesome. The first Ghost Rider film had a bad lack of good action scenes and failed to show off the potential of the characters powers. This film however is a completely different story. The Rider has much more exciting action scenes is this film that are shot well and feature great special effects. One of the films best action sequences comes in the form of a battle on a road featuring the Rider in pursuit of a truck convoy. Its fantastic seeing the rider actually engage a convoy of trucks while riding his flaming hell cycle.

Another one of the films strongest points is the portrayal of Johnny Blaze and Ghost Rider compared to the first film. In the first film Johnny was a fairly goofy character and you didn't really believe that this man was having a struggle with his curse. The film changes that by having Johnny being isolated at the start of the film, knowing full well that his curse puts everyone around him at great risk. Nicolas Cage is clearly having a blast playing this character and it is really entertaining watching the scenes where Johnny transforms into the Ghost Rider because Nicholas Cage really throws himself into the moment and just goes completely nuts.

The rider is also a lot better is this film, and at times is actually very intimidating and sometimes scary. The scene where the Rider first appears perfecly demonstrates how much darker this film is compared to the first one. The rider has also had a bit of a redesign, because now the skull is more grey and burned compared to the clean white skull of the first film. The rider also has less dialogue this time, which creates the sense of a very silent and creepy character.

The CGI work for the Rider is also fantastic and is also fantastic is other parts of the film. The film also has a very great sense of humor, and the film doesn't take itself too seriously. The film is fully aware of its self and it aims to be a fun entertaining film, and its succeeds.

Overall I thought the film was a amazing amount of fun and I would say that this goes along with Daredevil as a very underrated comic book movie. The backlash and bad press for this movie seems to miss the point and doesn't understand that the film is supposed to be a entertaining action flick that doesn't take its self too seriously. There are times when the film actually seems like a old road trip movie and the locations combined with the action scenes reminded me a little bit of the Road Warrior. People expected too much out of a story involving a guy with a flaming head fighting the devils hired mercenaries on a road while riding a flaming motorbike, and that's why it has been unnecessarily bashed. This film is way superior to first film in my opinion, and the style of this film should have been what the first film was like to begin with. Its action is superior, the characters are superior, the direction is superior, and the Ghost Rider himself is without a doubt way superior and is actually intimidating this time around rather than a goofy bland dissapointment that spewed out bad dialogue.

I highly recommend this movie and I would love to see a sequel that hopefully also brings back the directors.

Final Score 4/5
-Great action
-The Ghost Rider is much better this time
-Nicolas Cage is clearly enjoying himself and makes the film more enjoyable
-The films sense of humor fits very well with its style
-Tremendous amount of fun

Akira (anime) film analysis part 3: An overripe fruit

The sprawling metropolis of Neo-Tokyo is an example of a sophistication in technology and how densely populated it is. The entire setting, like the real Tokyo, is very large and overpowering, and features streets drenched in neon lighting and corporate signs. The setting is visually stunning and is very Blade Runner and cyberpunk in its design. the surface of Neo-Tokyo is the usaul concrete jungle of skyscrapers and industrial buildings, but beneath is a vast network of wires, pipes, circuitry, technology and energy conduits which are just as overpowering as the city itself. Clearly it takes a lot of man power and energy to keep this city running, perhaps a little to much. This is the common groundwork for any cyber punk orientated work, which in this case is an over reliance of technology and the constant desire to update and discover more.

The city is saturated, not just in its setting but also how its society functions. The maximum potential has been achieved and the revolution of the people is going to bring it down to square one, repeating the process of maturing and rebuilding after destruction or revelation has been achieved. When something is full it needs to be emptied, which is exactly what Neo-Tokyo needs, its needs to empty its self and fill up again. Even at one point in the movie a character suggests a similar outlook. The character Nezu says "This city is like an overripe fruit".

The idea of reaching maximum potential is conveyed with the character Akira, and the fact that this last great discovery within old Tokyo is what destroyed it, and started the next stage of the destruction cycle, rebuilding. The social boiling point has been met within Neo-Tokyo, and it will result in change and a new order, only for it to boil over again and change again.

Akira (anime) film analysis part 2: The Highways of opportunity

Kaneda and his biker gang are an example of the part of a society that is oblivious to the bigger picture or simply just doesn't care. There is a revolution occurring all around them and political struggles present, but yet they seem to care more about wrecking havoc and fighting in gang wars with other biker gangs. This is common with most teenagers and youth in general. Before they have fully understood the complex world around them, their first main objective isn't to plan a career or to fully prepare, but to discover knowledge or pursue early social lives. This is what Kaneda and his gang are, they are careless free thinkers who spend there time freely riding through the streets and highways of Neo-Tokyo on there bikes. This is their only real output in a country that's crumbling to pieces around them, they haven't found an exact place in main society yet, so they choose to rebel against it.

The films opening bike scenes summaries there delinquent lifestyles fairly clearly, showing them taking part in brutal and uncompromising bike chases and fights with a rival biker gang. There is a section of the chase that shows there detachment from their modern society even more. During their chase they start to ride towards old Tokyo as they ride across the deserted highways that lead there. This symbolically suggests the wish to return to an old way of life, and a wish to move away form the complexities and dangers of the modern Tokyo they inhabit. The highway they ride on while heading there is deserted, it is only them and the rival biker gang present. The way this sequence shows only the youth inhabiting these highways leading from an old society to a new one suggests there freedom and mindset.

Riding around on there bikes is almost like a form of escapism as they ride around almost aimlessly ignoring the complexities of their surroundings and engaging themselves directly into what ever ignites their interests. Because of there status as rebels, they are unbound from their modern settings, and because of that they have opportunity's to set their own future. This is the theme of maturity that is present throughout the movie, and it doesn't just apply to teenagers. It also applies to the changes society and near enough anything can go through, whether it be understanding of the world as a whole, social and political movements, and how we function as a species. This idea of maturity and change also applies to the theme of destruction and revelation, and how destruction and revelation can open up a whole new perspective to work from.