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.
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)
My favorite of the trilogy, because it's the most sympathetic towards its main character while unflinchingly showing how morally bankrupt and downright monstrous he has become, even though his disgust, alienation and self-hatred becomes more and more palpable as the film goes on. Good stuff!
Gripping story, incredibly tense scenes, a persistent dark tone, fascinating yet simple characters, refn quality style and sets, and disturbingly real violence. This is a masterpiece that doesn't seem to get much attention. This and Pusher II are Refn's best and most modest films in this reviewers opinion.
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.
The best of Refn's Pusher trilogy. Contains a gripping crime story like part I, and is psychologically at least as complex as part II. Milo is the only character who features in all three parts, and he's portrayed brilliantly again. This time he has all our sympathies. Interesting supporting figures too. 8.5/10. Scorsesean. (Ignore the laughable added title, "I'm the Angel of Death".)
Great ending to NWR's trilogy. No as harrowing and punishing as the first two ones but still heads and shoulders above most crime movies. Buric is a commanding screen presence and gives a nuanced portrayal that really resonates. The supporting cast is good but quite forgettable. Also nice to see that Radovan from the first one got his restaurant.
At first, didn't want to watch this movie, because i didn't watch first two series. But I watched the movie comfortably without knowing anything first two. Nordic cinema is successful with their film-noirs based on the immigrants, reflects the cultural mosaic as well. A ddiference to "Snabba Cash" focus was totally on out-of-Nordics, stating that the locals are "watching" all these "rat race"
bir üçleme olarak her bir filmde aslında aynı çıkışsızlığı birinci filmdeki frank, ikinci filmdeki tonny, üçüncü filmdeki milo üzerinden anlatıyor. iki filmden bu filmdeki farkı, şiddetin dozajı daha yüksek olması. refn çok iyi bir yönetmen, omuzda kamerasıyla gösterişe kaçmadan, üçlemenin altından başarıyla kalmış. ilk iki filmdeki gibi sonunu kendisi belirlemiyor, izleyiciye bırakıyor... seyredilmeyi hak ediyor.
while not quite as resonant as "pusher II," this also offers a complex character study instead of guns and guts and drama (save some of the gore during the ending). milo is the most likeable character in this universe, and the most genuinely melancholic. there's a scene involving a birthday cake that sums up everything that is wise, conflicted and potentially doomed about him - maybe the best moment in the series.
Just blew through all three films in the trilogy. While they no doubt feel stylistically skeletal, compared to the full-blown "AUTEUR POWER" surging through Drive, Valhalla & Bronson, this is still a deeply impressive three-part micro-epic where improvised dialogue, languid shots and eerie pauses go a long way towards credibly replicating an underworld I should otherwise have no insight towards. Near must-see.