Julian, a drug-smuggler thriving in Bangkok's criminal underworld, sees his life get even more complicated when his mother compels him to find and kill whoever is responsible for his brother's recent death.
A young man who was sentenced to seven years in prison for robbing a post office ends up spending three decades in solitary confinement. During this time, his own personality is supplanted by his alter-ego, Charles Bronson.
A motorcycle stunt rider turns to robbing banks as a way to provide for his lover and their newborn child, a decision that puts him on a collision course with an ambitious rookie cop navigating a department ruled by a corrupt detective.
It's 1949 Los Angeles, the city is run by gangsters and a malicious mobster, Mickey Cohen. Determined to end the corruption, John O'Mara assembles a team of cops, ready to take down the ruthless leader and restore peace to the city.
In this third installment of the 'Pusher' trilogy, we follow Milo (Zlatko Buric), the drug lord from the two first films. He is aging, he is planning his daughter's 25th birthday and his ... See full summary »
Bangkok. Ten years ago Julian killed a man and went on the run. Now he manages a Thai boxing club as a front for a drugs operation. Respected in the criminal underworld, deep inside, he feels empty. When Julian's brother murders an underage prostitute, the police call on retired cop Chang - the Angel of Vengeance. Chang allows the father to kill his daughter's murderer, then 'restores order' by chopping off the man's right hand. Julian's mother Crystal - the head of a powerful criminal organization - arrives in Bangkok to collect her son's body. She dispatches Julian to find his killers and 'raise hell'. Written by
The fight scene between Chang and Julian turned out differently in an earlier version of the script: Chang and Julian wore traditional clothes and before fighting they both performed a traditional dance, and at some point of the fight Julian was winning until Chang says "I forgive you" and ends up beating Julian. See more »
A thin border can be seen around the Post Production credits, indicating that the black background may not have been perfectly scaled to fit. See more »
Don't expect to see Drive's sequel, it would make no sense ! If you don't know Refn's movie you've got to know 3 important things : - He makes contemplative movies. With a lot of silence and a minimalist screenplay. - He said "Art is an act of violence" so don't expect to see a peaceful movie. - Drive is the least representative movie of his style.
You'll need to create yourself a part of the story because it's a movie between reality and nightmare. It's a philosophical and metaphysical movie. A true experimental & artistic movie.
This movie is fascinating ! Cinemathography is beautifully worked, use of the red light is perfect, framing also. Production design and the places make us perfectly return in the dark side of the film. We remain completely speechless front of the pictures that are beautiful, surprising and deeply disturbing. Violence becomes poetry.
The story speaks about the male impotence, revenge is put on side, there is no real hero. Just the story of a lost man who seeks his way, other side a cop who thinks he is God. It's to the spectator to find the morals of the story.
The music (electro-pop) and Vithaya's interpretations are in total agreement with the progression of the story and the pictures.
The actors succeed in transmitting the feelings and impressions of the characters with simple glances.
We leave the room completely disturbed, while being posed full with questions, trying to assimilate all the asked questions by the artist, but completely fascinated and excited !
It is simple either one loves, or one hates this film. I loved it !
Refn signs one of his best movies, he assumes completely his style and (in my opinion) proposes to us a real masterpiece.
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