One of my all time favorites.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Blistering performances.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

I find it sometimes hard to get into foreign films for the simple reasons of the language barrier and typically low production values. Pen-Ek Ratanaruang's thriller Headhshot is a rare exception. Though at times the photography was too dark to see clearly what was going on, on the whole I found this film to be easy enough to follow and engaging enough to keep me glued to the screen.Tul (Nopachai Chaiyanam) is one of the last honest cops struggling with the frustration of being one man against an insurmountable war on drugs. After a major bust involving the brother of a highly placed politician Tul is offered a bribe to lose the evidence and drop the case. After he turns down a cash offer he is set up. He meets Joy (Chanokporn Sayoungkul) in a parking garage and strikes up a relationship. Now, it might be mentioned here that this seemed a little suspicious to me from the start, since Joy is this smoking hot beauty and Tul is...well, not very handsome...at all. But who knows, maybe Thai chicks dig that sort. Anyway, after the set-up and the subsequent fall out Tul goes ballistic. He is framed and sent to prison where he is visited by Mr. Demon, a man who offers him a chance to get out of prison if Tul will become their "Special Assassin". There's no telling what the budget on this film was but I have to say this, whatever it was it was obviously sufficient because everything about this film was excellent. The two actresses in the film, Sayoungkul and Sirin Horwang, were not only incredibly beautiful, they were totally professional. There was no point where they weren't completely believable. How many American actresses can you say that about. In fact, everyone in the film was a fine actor. The script was tight and witty. There was enough action to keep it going without becoming mundane. And even in the action scenes I never got the sense of the all-too-obvious shakycam that plague so many wannabe American directors these days.All in all it was an excellent movie.

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.

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

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.