Really not a surprising atmosphere from NWR, displacing structure for the series' creative freedom. I love it's patient and complex morality. It's over the top violence and sexual mania, are only partial reasons I keep coming back to this wicked world.

Did you like The Counselor? Are you a fan of the orange and teal color scheme? How about vibrant and aesthetic juxtapositions of the colors blue and red? Do you enjoy eerie silences in movies? How about endless trailing shots? Do you have a twisted sense of justice? Are you a pervert? If you answered yes to any of these, then my sick friend, this pretentious style over substance show was made for you. PSA: Watch at 2x speed.

Bizarre, somewhat creative, confusing, somewhat religious, somewhat boring and... like no other

Visually, it is breathtaking. The level of inventiveness, the beauty of the weird color schemes; the still-life quality of the scenes was unreal. But the rest of it grows tired pretty fast. First off, it is pretty disjointed, secondly, it just feels like very artistic porn at times and not a very good one at that. It tries to put you off so much that it becomes annoying. In general, the story was interesting but it got lost in the stylistic considerations and not constructed well.

The fury felt towards a Trump-era America -- a morbid, beautiful, nauseating, intoxicating, repulsive, enticing neon-drenched wasteland of hopeless people whose means of communication and motivation and resolution is cold, barbaric, revenge-driven violence -- can hardly be masked by Refn & Brubaker. The anti-car-chase car chase set to Barry Manilow's 'Mandy' remains a standout reflection of the series' ability to curveball wicked comedy through the general nihilism and cruelty.

This is my OUT 1. Really the best cinematic Cormac McCarthy adaptation even if it technically isn't. But also, Refn just riffin'. Jena Malone dancing to Goldfrapp in the last episode might be worth every molasses-paced minute, I think even Rivette could get onboard even if he'd disapprove of the clinical Kubrickisms and the gratuitous violence. Refn's grindhouse instincts persist, but he interrogates them in a way I don't think Tarantino ever has despite the directors' intrinsic similarities.

Each shot is so deliberate, so artful and so goddamn slow that it makes this nearly incomparable. This took me forever to finish, but I'm glad I did and I ended up truly appreciating the unique hyperbolic world that Refn meticulously arranges.

Too Old to Die Young: American Republic? Refn pushes his storytelling style to extremes with long shots, long silences, expressionistic-neon lightning, and prolonged shots where characters 'observe' their environment. These help Refn in exposing questions on politics and society; the absurd income inequality, rising fascism and obscurantism (vigilante justice, Nazis, idiotic rich people), and the feeling of social and natural decay. But besides these, this was a great audiovisual experience.

A mini series is the surest way for TV to be great. Know how you want it to end before making the first episode, make your show, and get out. Even this could've condensed the last two episodes. This is easily the most beautiful show ever shot. Though it was tonally consistent, I wasn't prepared for how anti-climatically Martin's story was completed. The score hits so hard; that recurring sound before or after someone dies is the best thing I've ever heard. Also, I'm going to start spitting more

One of the best @ Cannes 2019.

just wild that he was able to make this. love it, best thing he's ever done

All colors are saturated and you cant really see much as it is so dark. The tempo is so slow that even at 1.5x that I have set it to; it is very slow paced! No interesting dialogue. Maybe my rating is too high, but I dont want to keep watching just to check if the rating should be even worse.

Refn is really good at creating things that you will watch without blinking even if the story is not interesting. Cinematography and the style is absolutely mesmerising, but the rest? Not really. The pace was exhaustingly slow. Martin's side of the story was interesting and thrilling but that spiritual woman and the cartel parts were simply dull. Last two episodes were just terrible and the finale was quite poor too. Overrated.

An unforgettable and unparalleled audiovisual experience, a best of-a-lifetime glacier paced tension that is almost constant and deeply thriling. In its expressions of violence and evil TOTDY invaded my mind to go to some very hellish avenues that I probably haven't gone before.

I am obsessed with this museum-paced Lynchian neon-evil. I thought I was watching a crime drama but it took half a series of these feature-length episodes for my eyes to become accustomed to the darkness and I can now see the horror comedy. I've been radicalised. I've joined the cult of the High Priestess of Death. Weak ending though.

Not a Lynch, yet. Just because you're slow doesn't mean you can't lose the pace. Some good moments, others even a normal person without ADHD, must be high to get it.

You know, I love slow but I hate stupid, so this one kind of put me in a bind, because it's both. But I found out that I hate stupid more than I love slow. There are some pretty parts though!

I don't know if it's the ever-looming tease of abrupt violence or the red and purple lighting he's recycling from The Neon Demon, but there's certainly something mesmerizing about Refn's formula. Mesmerizing enough it got me through 13 hours of his and Brubaker's schlocky, downright juvenile script, many of which I spent playing with my phone in the downtime between lines of dialogue, because the pace is that sluggish.

painfully slow.

Refn shouldn't exceed 2 hour mark for anything at all. Who cares for symbolism when you have to endure unending establishing shots all over. I started to skip scenes after a few episodes. It doesn't work and you know it. And ppl trying to read this is an allegory... And again, those 360 establishing shots, ugh!

Concerning episodes 1 through 8.