Vader182 wrote:http://www.empireonline.com/news/feed.asp?NID=34104

Empire says Only God Forgives= sometime next year. Fuck.

-Vader

DoubleD wrote:

Vader182 wrote:http://www.empireonline.com/news/feed.asp?NID=34104

Empire says Only God Forgives= sometime next year. Fuck.

-Vader

But it also has Django coming out in January. So maybe they're wrong.

Vader182 wrote:http://www.empireonline.com/news/feed.asp?NID=34104

Empire says Only God Forgives= sometime next year. Fuck.

-Vader

Ahoy, squirts! Quint here with a little rundown of some footage shown of Nicolas Winding Refn’s Only God Forgives, his follow-up to Drive.

This footage was all part of a mystery presentation that was hosted by Cannes Festival head Thierry Fremaux. I received a mystery email about 45 minutes prior to the footage running, saying I should be in a certain theater by a certain time for a certain something-something.

Turned out it was about 45 minutes worth of trailers and sneak preview clips, but the mystery was upheld throughout due to my ignorant American inability to speak or understand more than a few words of French. Thierry introduced everything in his native tongue, so it wasn’t until I heard something like “French-french-french-frenchy-french-Nicolas Winding Refn-french-french” that I knew we were seeing some footage from this film.

We didn’t see much, just an extended scene, what I’m told is the beginning of the movie, but from I’ve seen I can say without a doubt that this might not be a sequel to Drive, but it feels like a shared universe.

CaliKid329 wrote:A scene was shown at Cannes.

Ahoy, squirts! Quint here with a little rundown of some footage shown of Nicolas Winding Refn’s Only God Forgives, his follow-up to Drive.

This footage was all part of a mystery presentation that was hosted by Cannes Festival head Thierry Fremaux. I received a mystery email about 45 minutes prior to the footage running, saying I should be in a certain theater by a certain time for a certain something-something.

Turned out it was about 45 minutes worth of trailers and sneak preview clips, but the mystery was upheld throughout due to my ignorant American inability to speak or understand more than a few words of French. Thierry introduced everything in his native tongue, so it wasn’t until I heard something like “French-french-french-frenchy-french-Nicolas Winding Refn-french-french” that I knew we were seeing some footage from this film.

We didn’t see much, just an extended scene, what I’m told is the beginning of the movie, but from I’ve seen I can say without a doubt that this might not be a sequel to Drive, but it feels like a shared universe.

The footage opened with a long dolly shot down a dark and exotic hallway, overlaid with titles in a foreign language I’m pretty sure was Thai. As you can imagine, already not fully understanding the intro, I was a bit confused.

It was also confusing that the dolly tracks were still visible on the floor. I’d guess those will be removed digitally in the finished film, but they oddly fit with the gaudy font and foreign titles, so maybe they were intentionally left in.

There’s not a whole lot to the footage, honestly. The camera finds a room in what now seems to be a club of some sort, possibly a high-end strip club. Two Thai men in white suits sit laughing on a long couch in one corner, Gosling sits in another staring at a nervous looking girl holding a microphone. She’s not singing or looking like she’s about to sing, just standing there looking sad and lost in her thoughts.

Gosling stands abruptly, walks calmly over to the two Thai men having a good time and proceeds to smash one of the men’s drinks into this face, shattering the glass against his teeth.

Punches are thrown, Gosling dominating the fight, which continues out into the hall where Gosling grabs the hurt man by THE MOUTH (he’s lying on the floor, gasping in pain and Gosling just goes ahead and sticks his hand into the dude’s mouth and drags him down the hall by his upper jaw) and throws him out of the building.

The man’s friend kicks Gosling from behind, they brawl and Gosling ends up not only beating them both, he decides that’s not enough and removes his belt and starts a-whippin’.

-Ain't It Cool News

CaliKid329 wrote:A scene was shown at Cannes.

Ahoy, squirts! Quint here with a little rundown of some footage shown of Nicolas Winding Refn’s Only God Forgives, his follow-up to Drive.

This footage was all part of a mystery presentation that was hosted by Cannes Festival head Thierry Fremaux. I received a mystery email about 45 minutes prior to the footage running, saying I should be in a certain theater by a certain time for a certain something-something.

Turned out it was about 45 minutes worth of trailers and sneak preview clips, but the mystery was upheld throughout due to my ignorant American inability to speak or understand more than a few words of French. Thierry introduced everything in his native tongue, so it wasn’t until I heard something like “French-french-french-frenchy-french-Nicolas Winding Refn-french-french” that I knew we were seeing some footage from this film.

We didn’t see much, just an extended scene, what I’m told is the beginning of the movie, but from I’ve seen I can say without a doubt that this might not be a sequel to Drive, but it feels like a shared universe.

The footage opened with a long dolly shot down a dark and exotic hallway, overlaid with titles in a foreign language I’m pretty sure was Thai. As you can imagine, already not fully understanding the intro, I was a bit confused.

It was also confusing that the dolly tracks were still visible on the floor. I’d guess those will be removed digitally in the finished film, but they oddly fit with the gaudy font and foreign titles, so maybe they were intentionally left in.

There’s not a whole lot to the footage, honestly. The camera finds a room in what now seems to be a club of some sort, possibly a high-end strip club. Two Thai men in white suits sit laughing on a long couch in one corner, Gosling sits in another staring at a nervous looking girl holding a microphone. She’s not singing or looking like she’s about to sing, just standing there looking sad and lost in her thoughts.

Gosling stands abruptly, walks calmly over to the two Thai men having a good time and proceeds to smash one of the men’s drinks into this face, shattering the glass against his teeth.

Punches are thrown, Gosling dominating the fight, which continues out into the hall where Gosling grabs the hurt man by THE MOUTH (he’s lying on the floor, gasping in pain and Gosling just goes ahead and sticks his hand into the dude’s mouth and drags him down the hall by his upper jaw) and throws him out of the building.

The man’s friend kicks Gosling from behind, they brawl and Gosling ends up not only beating them both, he decides that’s not enough and removes his belt and starts a-whippin’.

-Ain't It Cool News

m4st4 wrote:Brutal and palpable atmosphere of Nicholas Winding Refn's filmography. Really, it's ridiculous to compare this with Drive just because it was so successful. Here, you have one extremely capable director who is on the top of his game from day one.

christophmac wrote:

m4st4 wrote:Brutal and palpable atmosphere of Nicholas Winding Refn's filmography. Really, it's ridiculous to compare this with Drive just because it was so successful. Here, you have one extremely capable director who is on the top of his game from day one.

Yeah I love Pusher!!!! I just assumed that it would be to use my words brutal and palpable in a way that is more similar to Drive than the Pusher trilogy e.g. Drive avoids handheld camera use while the Pusher trilogy uses is throughout - since visual directing styles are the kind of things I tend to look out for in films the use of or lack of handheld cameras in two films tends to make them have a different effect on me.

m4st4 wrote:

christophmac wrote:
Yeah I love Pusher!!!! I just assumed that it would be to use my words brutal and palpable in a way that is more similar to Drive than the Pusher trilogy e.g. Drive avoids handheld camera use while the Pusher trilogy uses is throughout - since visual directing styles are the kind of things I tend to look out for in films the use of or lack of handheld cameras in two films tends to make them have a different effect on me.

Yeah we could agree on that one. But damn, Pusher violence>Drive violence.