Too Old To Die Young

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.