Platicsco Good story, Not enough for a whole film

Tedfoldol everything you have heard about this movie is true.

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

igatutors On a scale of -10 to 10, I'd give this a -3.Splitting the movie into two timelines ruins it, it's very difficult to tell which timeline is being shown. I got as far as when he gets in the car with the SAME GIRL, and then it breaks down and they have a gun battle in the woods. Awful. Completely suspend your reality for this one, classic infinite ammo gun with NO EAR PROTECTION. How did they find him in the woods? I've been in the woods, you can hear a squirrel miles away and it sounds like a freaking bear. They always attack him with a poorly placed shot. Why not get closer and then shoot him? Also, when he's captured, how the hell did he cut himself out? And nobody noticed? LAME. That dude did some bdsm to him as "torture" hahaha... Once the bolt cutters came out it would've been a few weeks of misery, spilling his guts (literally and figuratively) and then death.It could have been a great flick. Beating the lawyer to death with the folding chair was awesome. But man, they worked hard to ruin it.

Nick Dees This was one of the movies I viewed in 2011. Lately Thailand never disappoints me. Great concepts, great shots, amazing fight sequences very exciting and engaging films. Like one of the other reviews stated if you are going to the movies looking for big name stars, don't go see this film. But is you are going to the theatre with an open mind and looking to see a good film, then is is right up your alley. I know when I go see movies I usually get a general idea of what the film is about. Based on what I read I either go or choose not to go. This film captured my attention based on a number of factors and for that reason I decided to go see it. i can assure you that it was exciting, and I enjoyed every second of it, as I imagine you will if you agree with my philosophy with regards to movie watching.

kosmasp Is that what you are looking for? Then look no further. Unless of course you want recognizable faces (e.g. American Actors) in your movies. Not judging just stating what you can expect. If you're here just for the movie(s), then this will be a trip. From the cinematography, the storytelling, everything screams Style.And fortunately it is not over substance. Even though there is not a big story here, it is more than sufficient to drive the movie forward. And to keep you guessing where this is going. There is violence and even nudity, just so you know. But it's not "headless" (sorry for the pun). It actually does literally turn things upside down ... Something that really is a nice touch

DICK STEEL Pen-Ek Ratanaruang's critically acclaimed film Headshot may be a surprise selection for this year's edition of THIS Buddhist Film Festival, as this crime noir is drenched in murder and blood, revolving around the life of a cop turned hired gun, if not for one of its more obvious themes dealing with karma, where what goes around will eventually come around, and those who live by the sword would know what eventualities lie ahead in a life that's based on vengeance and hatred. It's not difficult to see why Headshot had garnered some major film awards in Thailand, and may just be Pen-Ek's more accessible film in recent years.Based on a novel written by Win Lyovarin, Headshot has an interesting if not easily overlooked premise that deals with the corruption of society, applicable not only in Thailand, but may be typical of anywhere around the world, where the rich and powerful often find ways to circumvent social and moral norms. Businessmen and politicians find power through their spheres of influence, where money can buy a man's integrity and honesty, and any resistance swiftly met through the destruction of one's credibility, or in an extreme case, the ending of one's life. And this cannot be more pronounced in the life of Tul (Nopporn Chaiyanam), an honest cop framed for a crime he did not commit, and find it almost therapeutic in seeking revenge by crossing the line and becoming a hit-man for a shadow organization meting its own vigilante justice on the corrupt.But things get complicated when a routine hit turned nightmarish where Tul gets shot in the head, become comatose for months, and wakes up with his literal view of the world turned upside down, metaphoric for the topsy turvy spin his life would now take, possibly trapped in the winds of change he cannot avoid, contemplate, or fix for the better. The cogs are in motion for a life most extraordinary in his seeking of the truth, after we slowly learn how his life has become manipulated by parties taking their own selfish interests, and in a way, feel pity for the character who cannot change the fate he had chosen. And in some ways this also had to do with the women in his life, who come so fleetingly, such as the callgirl Joy (Chanokporn Sayoungkul) and Rin (Cris Horwang), who becomes his pseudo-getaway car driver, but is actually more than meets the eye.Ratanaruang presented the film in a fractured narrative form, as if to mirror the confused state that Tul is in, becoming the hunter then the prey, hunted by those whose lives he had changed from the hits carried out, with his pursuers adamant in wanting to discover the top of his food chain. It's told in a non-chronological order that segregates the significant portions in Tul's life, from his pre-hit-man days to his cop moments, and that of the present where his attempts to lead a monk's life gets threatened by his earlier life of violence that come back to haunt him. And credit to the director for being able to hold your attention despite shifts in timeline presented, being probably more effective when told in this fashion, forcing the audience to adapt with change as Tul spirals toward a finale filled with enough gun battle to excite the casual action seeker.The camera angles and cinematography by Chankit Chamnivikaipong also deserves mention, for its inventiveness, and vivid bringing out of the mood throughout the film, often dark, and drenched in rain, running parallel to Ratanaruang's dialogues and monologues that accentuates the inner thoughts of the various characters here, caught in their bleak world based on choices they have made, good or bad.