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 shipment of heroin turns out to be 10.000 pills of ecstasy.
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Milo is a Serbian godfather in Copenhagen but, unlike Al Pacino, he has to take care of everything if he wants the job to be done. So, during the same night, he must cook for 40 guests invited by his daughter, settle a deal gone wrong, make disappear two corpses and attend reunions in order not to take drugs again. If he wasn't a criminal, we certainly feel some empathy for him. Masterpiece.
The first half is really engaging, Milo proves to be an interesting man and his insane family complements him well, then when I was just about to call it the best of the trilogy it reaches Human-Centipede levels of imaginative gore and shock value, which proves that Winding Refn's was only this close to end his Pusher movies with a golden staple.
While II boasts an excellent soundtrack and Mads Mikkelsen killing it on screen, it's III which has the most heart. Milo's depth is incomparable, a character so well written that regardless of narrative development it is fascinating to watch him unfold.
85/100 - Excellent. (4.5)
The third installation of the Pusher saga is basically a story of aging, and like the narrator says in Philip Roth’s Everyman: Old age is a massacre, not a battle. When you’re an aging ganster, it’s a massacre for real. But like in all Pusher-films, there’s more to this than just killing and chopping up people. A fine character study with a sociological perspective, you might say. And a bloody good film.
An incredibly bizarre, but thoroughly engaging character study of NWR's reoccurring "Milo." His desperation is depicted brilliantly, and one can only feel sympathy for the insane depths to which he goes to maintain his reputation. All this topped with superb music and a gutting final act.
Milo's fight with addiction is very convincing and the best example is probably the one highlighted by the expressive music when waits in the restaurant. The way they utilize the pimp is one-of-a-kind.
The worst of the trilogy, no? The kinetic rush of the first and the odd melancholy of the second are replaced by Milo's struggles, which while as bleak and nihilistic as ever (even more, maybe) lack the glimmer of soul the others had. Refn trying new things, but IMO, the weakest protagonist and the weakest story. Really couldn't find much to grab me here.