Too Old to Die Young (2019) User Reviews (278)

Perhaps the most ambitious, challenging, bizarre series I've ever seen

[Stay_away_from_the_Metropol · 8/10 · 11 September 2019]

This is going to be very difficult to summarize properly.

Refn is a madman. It seems that he truly doesn't care how difficult his series is to get through, and once you get far enough into it, you start to admire that. Does it feel like each scene is designed to entertain the viewer? No. Not at all, and it takes a lot of getting used to.

I found Episode 1 challenging but by the time it was over, it had me extremely excited for the rest of the series, then I found Episode 2, 3, and 4 absolutely miserable. But, now, looking back, I find myself wondering...were they as bad as they felt to me upon my first viewing, or had I simply not yet become accustomed to Refn's fully unique approach to series programming? I actually told myself I was gonna stop watching after Episode 5, but then Episode 5 was bold enough that it re-piqued my interest, then I found Episode 6 and 7 absolutely masterful and I was locked into finishing the series. I would actually say that Episodes 6 and 7 are two of the greatest things Refn has ever done (along with Bronson and Drive, I suppose) - everything that makes him an innovative force in filmmaking are really firing off full fledged in these episodes. And, if I hadn't battled through the dreadfully boring lead-up episodes prior, I don't think these episodes would have been nearly as rewarding. Though this series does not offer a traditionally linear story, even upon completion, Too Old To Die Young IS a cohesive experience, which is not worthwhile unless you give it all 13 hours.

You may find yourself angered at first - why are these slow panning shots of environments with basically nothing happening lasting 3-5 minutes long? At first, I felt that even in a sense of world-building, they were not effective. I did not feel that they were building any atmosphere or tension - however, by the time I got about halfway through the series, I found myself addicted to the show's slow burn. It moves with a nightmarish sludge, comparable only to the likes of David Lynch's LOST HIGHWAY, and such. Though Lynch and his Twin Peaks, primarily, are the only truly comparable things that I can think of, Too Old To Die Young still maintains it's own unique vibe that is fully a beast of it's own, actually quite far off from anything Lynch did - the only way they are comparable is in their dreamlike pace, their brooding sense of dread, and their utter bizarreness.

With all challenging aspects put aside, what the series really obviously offers as it's greatest strengths are it's stunning photography, sets, and lighting, another lush and masterful synth music score from today's maestro, Cliff Martinez, who I swear just keeps getting better and better, and some truly gripping, perhaps even legendary, acting performances.

First of all, Billy Baldwin, coming out of left field and putting in one of the most jilting, revolting, creepiest performances I have seen in some time. I was quite surprised and completely astonished. This man deserves much more work, and even some awards in my opinion. Cristina Rodlo, whom I had never heard of - absolutely breathtaking with her presence - convincingly terrifying in her almost inhuman role, which requires a bit of suspension of disbelief - in the end, her character and her haunting performance the most memorable thing about this entire series - and it must be mentioned that she is utterly gorgeous, stunning beyond belief. Augusto Aguilera also leaves serious mental marks as the orphaned drug lord - much like Rodlo as Yuritza, he manages to be so beautiful looking yet so simultaneously terrifying just underneath his discomforting calmness, consistently. All three of these characters are legendary. Miles Teller is also tastefully casted, as his character is never quite likable, always disquieting, and always keeps you guessing - a vibe that Teller is quite made for. Nell Tiger Free and Babs Olusanmokun also make lasting impressions - I will not be forgetting them after this viewing.

Overall, I'm pretty certain I'm going to consider myself a pretty big huge fan of this series for a lifetime, but it's one of those things that I will not be recommending to most people. I truly don't think that the majority of individuals will have the patience for it, nor will they understand what's to appreciate about it in the end, but if you let it creep it's way into you, if you admire true innovation in art & media, and if you have a taste for the darker side of surrealism, Too Old To Die Young may very well be worth your eternal brain space.

Thank you, Nicolas Winding Refn, for giving series programming something truly different for a change. Thank you very much.

For better or worse, it is very much Refn.

[TheVictoriousV · 7/10 · 18 February 2020]

When a show is this complete in its aesthetics, but also needlessly unmerciful in how it is paced - by the start, anyway - it can be hard to critique it justly. For Nicolas Winding Refn, the tempo is always part of the Neo-noir vibe, accentuated by the Cliff Martinez synths and the colored lights that illuminate a shady Los Angeles, then punctuated by gruesome death.

And indeed, Refn created something special out of his '80s nostalgia when he directed Drive in 2011. However, with works like Only God Forgives and The Neon Demon, there were problems. Only God Forgives appeared to have less of a point beneath the surface of its languid sadness, and The Neon Demon was also a bit unengaging, which came with the side-effect of making Refn's influences (Lynch, Argento, et al) a little too blatant.

Too Old to Die Young, his contribution to Amazon Prime's library, does have pointlessly, agonizingly slow episodes, though it may be the most aesthetically well-realized Refn project yet, and he does create a mood unique from the works that have visibly inspired him (something that another fan of classic cinema, Panos Cosmatos, succeeded with when making Beyond the Black Rainbow, more so than The Neon Demon, Refn's colorful horror homage). Furthermore, lead actor Miles Teller successfully gives the impression that a complex and damaged human being lies beneath the stoic demeanor.

The biggest problem is that the first three "volumes" are wholly inessential viewing, not only due to the possibly boring pacing (for some, these episodes will still work in terms of mood and visual beauty). Instead, the main issue is that they intentionally function as backstory to the main plot, which arguably doesn't get going until the fourth volume, where Officer Martin Jones (Teller) has joined forces with vigilante Viggo Larsen (John Hawkes) to terminate pedophiles and other decadents around LA.

Jones had already been running such errands for local gang leader Damian (Babs Olusanmokun), in exchange for not revealing Jones' involvement in killing the mother of Mexican cartel member Jesus Rojas (Augusto Aguilera), and Larson was already doing hits for the mysterious and possibly extranormal Diana DeYoung (a gorgeous Jena Malone, looking more like Naomi Watts with age). We also learn that Jesus has climbed the ranks within the cartel following the death of its Don, but this can also be surmised without seeing episodes 1-3.

Again, this is actually "intentional". Refn willfully made the first three episodes of the series into prequel material, with the apparent motivation of fixing a problem far more relevant to TV than streaming - he wanted to make a show where it doesn't matter if you "miss" the first episodes; a show you can just jump into without needing to catch up. First of all, it's pretty hard to "miss" episodes of something in the age of home streaming and binge-watching. Second, if a show is truly great, who cares if there is a lot to catch before you're up to speed?

Nonsense like this will make Too Old to Die Young hard to swallow. But it eventually becomes an intriguing deep-dive into the neon-bathed underworld, with characters whose Old Testament-approach to punishment has made them no better than the monsters they hunt. Some levity is also provided when the show introduces Jones' new homicide division colleagues, who put on pro-fascist theater and pull pranks on one other far more than they do police work, and William Baldwin as the creepy father of Jones' suspiciously young fiancee (Nell Tiger Free).

And nonetheless, the show remains visually splendid throughout. You can tell Refn doesn't just point and shoot, or light the scenes based solely on how well we can see everything. It is obvious that he's thought carefully about what shade of purple will be reflected on which prop within the frame (while the rest of the image may be completely red), how the outdoor shots will be given a certain feel by traffic lights and police sirens, and even how almost-empty wine glasses are to be arranged on the dinner table in one scene. Even the natural scenery complies with Refn's art direction (or rather, Refn shot at just the right locations at the right hours of the day, but it sounds cooler when I say it like that).

The possibly most gorgeous scene involves the enigmatic Yaritza (Christina Rodlo), bathed in the red-and-purple flashes from outdoor party lights in shots that recall Suspiria. Finally Refn pays homage to that film in a way that works.

Definitely not for those that hate violence!

[larmo · 7/10 · 10 October 2021]

This not for people that dislike graphic violence and gore. Having said that, I really enjoyed the director's style, the cinematography, acting, plot and production values. This is an extremely dark drama, with really terrible characters, doing really terrible things. However, the plot is constructed in such away, that it is really hard, if not impossible. To know what is going to happen next, or to whom. I was fascinated by the series, and really enjoyed it. I'm surprised at the high number of positive viewer reviews of the series there are, because it certainly is not for everyone.

This is what it looks like when you let Refn make 10 episodes of TV

[feelinesound · 10/10 · 14 June 2019]

One beautiful shot after the other, atmosphere-building silences, sparse dialogue, echoing analog synth drones. If you've seen any of Refn's last 3 films (Drive, Only God Forgives, Neon Demon) then you know the score and you should probably know what to expect coming into this so-called series, which really is much more of a 13-hour movie/bad acid trip.

Except with so much time for Refn to do as he pleases we end up with much more atmosphere-building silent moments, and somehow the dialogue is even sparser - Miles Teller basically plays a corrupt cop version of Ryan Gosling's Driver minus the toothpick. The end result comes across like a non-supernatural, neon-colours David Lynch piece with a mesmerizing score by Cliff Martinez at his best. This alone makes it worth watching - it's like being in an art gallery, watching one beautiful moving painting after another as brilliant, haunting music fades in and out. Is there much underneath this shimmering, beautiful surface? Debatable. Does it matter? Only if you like your TV and movies old school style, with a well-conceived plot and characters you can empathise with.

Phenomenal show.

[LegendaryFang56 · 9/10 · 26 July 2021]

Gripping, suspenseful, cinematography-filled utopia of a highly graphic, disturbing, sickening, and sometimes s/xual nature, violence, pe/ophilia, r/pe, misogyny, panning shots, long shots, and longer-than-normal pauses in-between dialogue in a disturbing and sickening world. This is peak entertainment, and possibly peak television.

Those who gave up watching it minutes into the premiere or in general and those who streaked through it that then spewed out negativity at it are missing out and maybe don't have the ability to appreciate what is truly good, what is good entertainment and television, and this masterpiece of a very long movie disguised as a show fits within that category.

This has been one hell of a treat, courtesy of Nicolas Winding Refn, one we didn't deserve but appreciate very much, those that recognize and acknowledge real entertainment. I feel sorry for those who don't feel the same way, and I feel all the more sorry for those that hate it. I have enjoyed it so much over the last week and a day, and now I feel empty inside. What a ride-filled experience, wow.

Do me one favor. Watch this masterpiece. It'll seem and feel very slow, especially when you're getting into it, and it is, but entertainment isn't limited to fast, action-filled pacing. You may end up feeling ecstatic and thankful that you did. I know I am. I wish I could watch this all over again for the first time but with a more mature, open mind. That would make for an even better experience.

Beautiful

[Jamie_Seaton · 15 June 2019]

Being a fan of Refn's previous work I've been waiting patiently for this and definitely not disappointed. Yes it's a slow-burn piece but with that it's building perfect atmosphere and mood! If you enjoyed Drive, Only God Forgives and Valhalla Rising you'll be in for a treat here. The soundtrack is dark, gloomy and the visuals have a beautiful tint of colours.

A little disappointed in reviewers saying it's slow and giving low scores after only seeing 1 episode. It's for viewers with open minds and willing to take in what's happening in a cinematography stand point, sounds, as well as acting and story...

If I was to compare this to other directors work I'd say it has a fair bit of Lynch's abstract filmmaking and Kubrick's tracking shots on top of its own unique originality.

Extremely dark, powerful, provocative and holds a place in my heart.

I absolutely love Nicolas Winding Refn's directing

[UniqueParticle · 10/10 · 20 January 2022]

A lot of people complained about the pacing but I think it's very well directed with amazing music, cinematography, and tense tone that is perfect! Filmed in the essence of Drive which I think is a masterpiece and so is Bronson. I can't believe I didn't know about the series sooner I would've definitely watched when it released. Miles Teller is riveting throughout he's a very good actor! Too Old to Die Young is kinda weird and thrilling; I'm glad I decided to watch it kinda easy to watch while tired.

A 13 hour movie that should've been a 3 hour movie

[digitalundergroundbc · 6/10 · 12 June 2023]

I'm not sure what else I can add that has not already been said. In some ways, this is NWR's best work. But in other ways, this is the most painfully slow show I've ever watched. The 1 star reviews are just as true as the 10 star reviews.

Scenes are beautifully shot and colored, but often serving little to no purpose. The characters are well acted, but it can be hard to sit through dialogue with 10 second pauses between each sentence.

I gotta give it to NWR and Amazon for not watering anything down. This show is incredibly pretentious, but very unique and doesn't try to anything else. If you're not a fan of NWR, this will not change your opinion on him.

Basically a ten episode long Nicolas Winding Refn movie, and that's a good thing

[darkreignn · 9/10 · 21 February 2021]

Nicolas Winding Refn said he wanted to create a "really long movie," and "Too Old to Die Young" was birthed from that desire. It is a very long, slow, bizarre, and violent series that covers a series of topics pertaining to corrupt police officers, the Mexican cartel, paid hitmen, psychics, and many more that are too graphic to write about. And I loved every minute of this show.

I am definitely biased because I enjoy Nicolas Winding Refn's films, but I found "Too Old to Die Young" to be mesmerizing and utterly engaging with its euphoric score and ethereal visuals. Granted, it took me about three episodes to be fully engaged, but the wait was certainly worth it. This show treats you to depraved characters you won't be able to help but like as the series goes on; to violent sequences that are filmed so beautifully that you'll want to look away but be unable to; to a slow-paced and nuanced story that consistently picks up steam and builds to an explosive finale; to plot points so horrific that you won't believe Amazon greenlit this series for their streaming platform. And it all makes for some of the best viewing I've had in a while.

As always, this show looks and sounds absolutely incredible, which isn't a surprise with Refn. This show has a decidedly over-stylized feel to it, with neon-drenched visuals and an overbearing score hanging overhead most scenes, and I couldn't get enough of it. Refn has a way of making those things work, and I just enjoy both of those aspects a lot in movies. Every episode submerges you to new things to look at and hear, and it is honestly exciting to see what Refn will make you endure next.

As I mentioned, "Too Old to Die Young" also has a story that deals with a various amount of plot points. I won't spoil any here, but let's just say that it makes the show completely unpredictable as you won't know what it's going to pull out of its hat next. Also, every actor in here did a phenomenal job, even though most of them are classically stoic and borderline mute, both traits that Refn enjoys making his characters embody. Regardless, the acting in this show was good, and as the series goes on it gives its characters many times to shine.

As a whole, I really enjoyed this show and will definitely be giving it a rewatch when I have time to spare. There is just so much to enjoy here, and if you're a fan of Refn, you will definitely find things to like, if not love.

Save your time

[peter-spengler · 6/10 · 20 July 2019]

You get what you expect from the director. Slow mo plot, lots of neon, retro.

But you get a lot of boredom as well and very strange performances, very strange.

Sometimes really painful to watch. At the end it gets 100% woke.

Excruciating...

[fdc2 · 2/10 · 14 June 2019]

Somebody said the dialog was sparse?

What it is excruciatingly trite... with a... dramatic pause... after virtually every... sentence.

When even a coke whore... is in slow motion... you just know... something is wrong...

The first episode is... 45 minutes to an hour... of painfully drawn out dialog... stretched out to... an hour and a half. I'ts like the episode... was wasted on heroin.

It took me two sittings... to force myself... through the first episode... due to falling... asleep.

I don't know that I'll have the patience... to give the second episode... a chance.

SPOILER HEAVY review:

[loempiavreter · 8/10 · 15 June 2019]

'Too Old to Die Young' is the latest effort from the Danish director with the almost comical grandeur attitude. And let me tell you that the directors overblown ego, is part of what makes TOTDY package. To say if his latest work will be well received, is an ill-fated question. Will it neatly balance on a divided 50/50 audience again or will it weigh out more heavily to a negative majority, is the more interesting question.

INCOMING SPOILERS!!

The story follows a bit of crooked cop called Martin Jones, who witnessed the slaughter of his equally crooked police partner Larry, by Jesus (Augusto Aguilera ), as an act of vengeance for their murder on his mother, Magdalena, the local cartel queen. Jesus flees to Mexico where he lays low with his cartel leading uncle (Emiliano Díez), his mysterious right hand lady/assassin; Yaritza (Cristina Rodlo) and cousin, Miguel (Roberto Aguire). Soon Jesus starts his ascend in the criminal empire as the devilish king to his rightful throne (the allusions to Lucifer from Refn were hardly subtle). Meanwhile officer Martin get's promoted to Detective but at the same time has to play a hitmen for the Jamaican mob, for reasons related to the death of cartel queen Magdalena. Martin finds a mentor in Viggo (John Hawkes), an terminal ill ex-fed, now vigilante working on a hitlist provided by physical therapist/part time mystic (representing the series supernatural side), Diana (Jena Malone), who leaks Viggo a list of true scumbags out of confessions from their victims. Viggo's philosophy in his targets of choice influences Martin, and seeks it as an atonement for his past wrongdoings. He soon rejects jobs from the Jamaican mob which doesn't follow his code of ethics, he only wants them to give Martin the worst of the worst. The world of TOTDY is also colored by the likes of Janey (Nell Tiger Free), Martin's underage girlfriend, her father Theo (William Baldwin) and Damian (Babs Olusanmokun) leader of the Jamaican mob. While Miles Teller, who plays Martin, is the focus of the marketing campaign for being a bigger name, it is equally Jesus and Yaritza's story as it's Martin, as the series divide it's run between the focus of either one of two story arcs.

One thing that I appreciate in TOTDY is the humor that I haven't seen in Refn's last few work from Drive to Neon Demon, but was part of the appeal of such works as his Pusher Trilogy, Bronson and such. There's a very dry, surreal sense of humor and it flows rather well with meticulously paced beat. One of the comical standout characters is the Ukulele playing Lieutenant from Martin's police force, a character that wouldn't be out off place in the Twin Peaks universe (talking about Twin Peaks... Is that Apple Pie scene a nod to the legendary series?), his love for Jesus and Fascism is simply hilarious. The police force might be the boldest scene stealing comic relief characters of the series, but apart from the brooding main characters, the TOTDY universe is scattered with light hearted comical moments from it's supporting cast (sign me up for a subscription to CARTEL TV!), that perfectly balances out the almost fetishistic gaze on violence.

Refn doesn't tackle so much of an overarching narrative plot, as he his more interested in giving a slab of critical satire similar to Paul Verhoeven's work in the States such as Robocop and Starship Troopers., as Refn prefers blatant obvious symbolism to tackle the metaphysical message he envisioned. There is a certain impending doom hanging in the air of the US. Characters wax apocalyptic prosa and existentialists musings on life as a majority of the characters are spiraling down a self-destructive pit of pendulum. Refn toys with allorgy's to the current political climate in the US. Martin tries to control his violent destructive path by forcing it into a quest of atonement, but the reality of the situation is that he is still under the tight reigns of the ill willing higher powers, be it the Jamaican mob, the police force or simply following Viggo. It's all a bit on the nose, but it works. Going back to it's narrative overarching story, it closes of in true David Lynch fashion... Which means it doesn't. But it felt expertly timed, playing well with the viewers subversion.

The acting is slow and stilted with intention, the editing always lingers on a tad few seconds too long. The acting and offbeat rhythm pace might as well be influenced by Japanese Noh theatre (the opposite of the expressive Kabuki theatre), though it isn't exactly new in Refn's world; Refn's post Bronson work definitely flirted with this style on more than one occasion. Does it work on a 13 hour neo-noir epic? Sort of. It depends how you choose to view TOTDY; Refn has stated in an interview that he was influenced by his children's youtube behavior and encourage the viewer to drop in and out of his series. While it's true that this statement only works halfway since character still die, and you'd be missing something stepping in on later episodes. But I found out that the series pacing and sparse dialogue made up as excellent background entertainment and played very well on this philosophy of dropping in and out. It worked quite well working behind my computer to occasionally revert my attention to the screen playing TOTDY; as when you get into the beat and rhythm of it's dialogues, you kinda know when to avert your focus to the screen to pick up on the important tidbits. And I have to say that this viewing method proved more effective, unlike my first tries to watch this series fully focused from start to finish (and Im used to work of the likes of Bela Tarr). But what's the point if it doesn't work from start to finish, you might ask? To appreciate a narrative on alternative way, might prove the right cure for people looking for different sorts of cinematic kinks. Is it user-friendly? Probably not, but there definitely is a certain portion of people who get a kick out of this.

The audiovisual department rarely fails in Refn's oeuvre, so this doesn't come to a surprise that TOTDY is another feat for eyes and ears. Visually, cinematographer Darius Khondji, delivered some of the finest colors to the small screen, the season. The series is simply gorgeous to look at. And while the camera work is often simplistic and static, it does compliment the offbeat slow pace. Cliff Martinez's score, is compromised of sparse eerie droning soundbits are minimal but effective, with some sudden operatic outbursts that would not be out of place in a psychedelic spaghetti western (it had shades of Matalo's OST and several of Morricone's scores) and the occasional inspiring song choice from the many Jamaican Ska tracks that gave colors to the Jamaican gang to the punk rock'n roll stomper opener from 999 to the hilariously effective Mandy from Barry Manilow as the background track (and subject of a joke) in a hot car chase thrill.

To conclude; does Refn has a masterpiece at hand? The amazon prime series plays out somewhat as a Refn's 'best of' compilation. There is a bit of everything from his previous work. An therefore I wouldn't put it as a top tier Refn, because he is sailing charted waters, there is not enough of Refn trying to do something new. Im almost certain however that it will find it cult status later on with a certain kind of audience. And while Refn tries to adhere the arthouse pretenses in the series, the core of TOTDY is midnight movie pulp. It will be a better companion piece to the works of Seijun Suzuki or Russ Meyer, than say Ingmar Bergman. As in; it's pulp material in the hands of skilled director that takes it to another level, but doesn't betray it's pulpy start. Speaking of Suzuki, tonally it did remind me of Seijun Suzuki's comical noir Branded to Kill, juggling it's off beat humor with noir grit.

Too Slow for Sober watcher

[bameinremedial · 7/10 · 14 June 2019]

I always a fan of NWR's for his color palate. But this series is too slow. And the dialogue is too simple. I got bored in 30mins of eps 1. still, the colour and cinematograph top notch. Definitely not for sober watcher.

When Artsy overtakes Reality

[mmevanille-53097 · 5/10 · 24 June 2019]

I get it.

In the past I have pondered over super-quick dialog drama's like West Wing, wondering if people actually talked like that in those spheres. To me it seemed like the characters know exactly what to say at the drop of a hat without any mistakes, which seemed to me to be unrealistic. In reality. there are mistakes in conversation, people do take time to think about what they are going to say and how they say it.

Too Old to Die Young takes it to the other extreme. Every bat of an eyelid is purposefully portrayed in this drama in excruciating detail. Just like those quick paced dramas, where its not realistic to suggest that people never take pause or thought, this is unrealistic in suggesting that every sentence needs to take pause or thought. Its an art piece, removed from reality, and that makes it very difficult to get absorbed in.

5/10

Caviar Television

[hallnw · 10/10 · 15 June 2019]

Bravi. Truly unlike anything else. Polarizing and provocative which is refreshing given how everything feels the same on most tv.

I loved it, but this is the definition of "not for everyone"

[Bertaut · 8/10 · 5 July 2021]

Created by Nicolas Winding Refn and Ed Brubaker, and directed by Refn, Too Old To Die Young is the definition of "not for everyone". This is Refn sans restrictions, representing the purest yet expression of his aesthetic sensibilities and thematic concerns. If you thought Only God Forgives (2013) was slow, all style and no substance, and pretentiously self-indulgent, then TOTDY is not for you, simple as that. Running for 13 hours across the course of 10 episodes, Refn regards it as "a 13-hour movie" and insists that it is not a television show. Either way, I loved it. The aesthetic is exceptional, the quirks are pure surrealism, the humour is spot on, the violence (particularly the sexual violence) is sudden and barbaric, but never gratuitous or pointless, and the themes are fascinating. This isn't going to turn a single person into a Refn fan. Indeed, it will probably alienate some of his more casual fans, as it tests the limits of what even the most artistically open-minded viewer will watch on their television screens. That said, if you're on-board with it, you're in for an unforgettable ride.

Martin Jones (Miles Teller) and his partner Larry (Lance Gross) are two uniformed LA cops on patrol. After sexually harassing and extorting a young woman because he can, Larry is taking a selfie for his mistress, when Jesus Rojas (an exceptional Augusto Aguilera) shoots him in the back of the head. And from that opening scene springs the story, which introduces us to local crime boss Damian (Babs Olusanmokun), Martin's 18-year-old girlfriend Janey (Nell Tiger Free), her billionaire father Theo (a completely insane William Baldwin), former FBI agent Viggo Larsen (John Hawkes), his associate Diana (Jena Malone), and Yaritza (a stunning, scene-stealing Cristina Rodlo), a young woman with a penchant for sexual domination who claims to be the High Priestess of Death.

If this makes the show sound like a densely plotted neo-noir, then let me put that notion to bed right now - make no mistake, in TOTDY, the plot comes a long way behind such things as tone, imagery, mood, and atmosphere.

The most obvious aesthetic elements are the cinematography by Darius Khondji and Diego García and the editing by Refn's regular cutter, Matthew Newman. The first episode, and several of the later episodes, are bathed in neon, with vibrant reds, purples, oranges, blues, and greens saturating the screen. The second episode then is set in Mexico and is a complete contrast to the first, almost over-exposed, with whites popping and bleeding into any nearby blacks.

Additionally, every shot feels deliberate, meticulously composed, important, like every element of the composition is saying something of significance; for example, whether the camera moves or not offers a commentary on the content of the scene. Every item within the frame feels necessary, intentional, and by design. And scenes go on for a loooooong time; most run at least two beats beyond where the natural end would seem to be, with long silences and languidly-paced, emotionlessly delivered dialogue. This all creates a sense of extreme awkwardness that makes the viewer restless and uncomfortable, which, of course, is precisely the point.

This lethargic sense is helped immensely by the editing, which is almost imperceptible. It feels like the show was edited before it was shot; every cut feels measured, happening where it does because that's the only place it could happen. I'd be shocked to learn that a lot of coverage was shot to be assembled in the editing room later; it's too tight for that. The edit must have been planned out from the get-go. Coupled with this, the sound design by Paul Hackner is unique. For interiors, there is often no ambient room noise and because there are such long pauses in the dialogue, the silence is oppressive. It has the effect of suggesting the characters aren't in the room, making it feel almost ethereal and hypnotic, and it turns conversations that are already slow and full of silence into something even more distinctive.

And what is all of this in service of? What is Refn saying? The main theme is very straightforward - toxic masculinity and the commodification of the female, in particular the sexual commodification. TOTDY is a show wherein many of the female characters are looked upon by men as objects to be used rather than as people with their own agency. In one particular scene, a porn director washes down a young woman with a hose, the way one might wash down a horse after a race. When the show begins, it seems to commit the same sin, as none of the females have much in the way of vibrancy, and all are defined based upon their relationships with men. It's only as the series moves on, and the characters of Diana, Janey, and Yaritza assume centre stage that we realise the method in Refn's madness - despite how it begins, this isn't a show about men. Paedophiles, racists, violent misogynists, amoral murderers, people traffickers, even a father who unashamedly hints at incest - Refn and Brubaker have assembled quite a collective of male bottom feeders to pitch against the female characters. Never has the phrase "the evil that men do" been more appropriate.

Another issue looked at includes the notion that America is a dying empire, unaware of its own imminent demise. When this happens, it will return to what it was born from - violence, and only the few who were prescient to the collapse will be able to protect the weak and the innocent. This is laid out fairly explicitly in an astonishing monologue from Viggo which taps into some of the tenets of post-Darwinian French decadence, whereby industrialisation was often linked to notions of the fin de siècle and the theory that humanity was more likely to devolve than evolve. In TOTDY, Refn presents humanity as at a transitory moment right before a cataclysmic shift. Technology has overtaken morality; civilization has pushed itself to the point of self-consumption; the individual is insignificant. Viggo thinks about this in terms of society fracturing and collapsing, with humanity no longer at the centre, no longer a part of nature. Diana thinks of it in social and political terms, with the privileged few coming to rule over the many. Jesus thinks about it in more biblical terms where he is an Old Testament-style God punishing those who have wronged him.

All in all, I loved the show. But there's no denying that the very things which some people embrace and celebrate (particularly the pace), will drive others up the wall. And certainly, it's not hard to imagine a hell of a lot of people watching for 20 minutes before hastily changing the channel and deeming the whole enterprise the "worst show ever." Amazon has allowed Refn to indulge in everything that his detractors criticise and his fans laud, and the result is either a travesty or masterpiece, depending on your perspective.

Another cinematic masterpiece by NWR

[joshuabush-34620 · 10/10 · 9 September 2022]

"Too Old To Die Young" STUNNED me. This hidden gem from the director of Drive and Only God Forgives created another neon world of of delicious darkness that never lets you go. This show is cinematic, beautifully shot, and an absolute neon inferno that pulls you along the way no matter the twist and turns.

The characters are so out of place and flawed, that you love to watch them grow in screen dealing with their problems in the universe that was built for them, even in the neon- synth membrane. I savored and enjoyed every minute! Miles teller also shines here as an outstanding actor with a serious and silent character that gets under your skin. 10/10.

Perhaps The Sickest, Most Twisted and Violent Television Show Ever

[MogwaiMovieReviews · 7/10 · 31 July 2019]

So first things first: it IS too slow, and any other director would have told the same story in less than half the time. On the other hand, that is its greatest strength, too, in that it builds up an unbearable tension I don't think I've seen on the small screen before, with a mood pitched somewhere between Drive (or The Neon Demon), No Country For Old Men, and the darkest moments of Breaking Bad.

It has a horrific - I mean a Passion-Of-The-Christ-like horrific - level of violence in it, that will leave you feeling bleak and hollow, but also (hopefully) dwelling on the emptiness and futility of revenge. It's intentionally ugly and brutal, but impeccably acted and with maybe the best photography ever seen on TV, too.

Am deducting a star because of the shoehorned-in Hollywood politics ('the future is female!/kill all men!') ending, which has no meaning or point in relation to the rest of the story, and I find myself wondering if Refn was obligated to add it in order to get away with all the amoral brutality preceding it.

NWF's trade mark

[searchanddestroy-1 · 9/10 · 22 September 2019]

I would have seen this eries, even only one episode, I would have recognized NWF's mark, at first sight. Nothing has changed since his previous films. Here is no more than a fifteen hours - maybe a little more or less - feature. He is a master in the matter of aesthetics in violence with very slow motion scènes, but not in the way Sam Peckinpah did; no, here, everything is slow. Especially the dialogues, where, between Q and A you have five or ten seconds to wait !!! And every sequence is not always explained. I could not watch this kind of stiff every day though, but I love this anyway. Not for sissies, nor audiences in love with CASA DE PAPEL!!!

a new definition of slow

[dragokin · 28 October 2022]

If you thought Only God forgives by the same author was slow, you might as well skip Too Old to Die Young.

I used to be a fan of Nicolas Winding Refn but with time found it difficult to cope with his messing with the pace of his movies. When the first episode started I actually checked the playback speed. But it was normal. This did improve somewhat but I gave up during episode 3.

In fact, if anyone would talk to me as the actors did in the very beginning, with expressionless faces and unbearable periods of silence, I'd assume they are either under influence or have a condition. Or both, for that matter.

And this is a pitty, since underneath it all there is a story which has potential but might be squeezed into half the time used by the author.

2 times the speed... Still slow

[starlee02 · 6/10 · 18 June 2019]

Yes I appreciate the creative lighting and color, and camera movement and composition. But films and shows are for people to watch. I had to watch the show on 2X speed to be able to finish it, the movements are too slow, people stay still for too long, and the awkward gaps between lines. I'm sorry but they are completely unnecessary, most of the times when I'm watching this show, I find myself staring at the screen, waiting for the actor waiting to speak the next word. It was clearly the director's decision to make them slow, but you can tell even the actors felt awkward having to pause that long between lines. I understand that is an artistic choice, but you have gone too far. Your show could finish in half the time it has now WITHOUT LOSING ANYTHING!! You don't even need to cut any shots, just please speed it up. I feel like my life is flying by while watching this show.

So slow

[Eric-d-hendricks1 · 2/10 · 23 June 2019]

I couldn't stop falling asleep while watching this show. I enjoy a slow burn but it seemed like all the characters were on tranquilizers, even the coked out characters were moving slow and their speech slow. During the middle of the second episode, I skipped ahead and peaked at the last two episodes and everything was still moving so slow. I appreciate taking time in a film to slowly move through a well staged set but taking 2 to 3 minutes to go down an empty hallway to get to the room the characters are in was torture. Torture is the exact word I will use to describe my experience with the pacing of this show. I found the story compelling and I really would like to continue watching but the only way I could finish this show is if I could watch it a 2x the speed. Honestly each time I have given this show another chance I am asleep within 10 minutes. I really wanted to enjoy this show and am very disappointed that it is physically impossible for me to do so.

Possibly Refn at his best

[Lou_Zi4 · 9/10 · 25 June 2019]

Being a fan of Refn's work I had very high expectations for Too Old To Die Young. Not only it satisfied them, it even exceeded them.

My only apprehension was that NWR would stick to the style of The Neon Demon, his previous film, meaning a too far-stretched, often pretentious, aesthetic piece of work with beautiful frames but made only from artificial sets and lighting with no explicit plot (don't get me wrong I really liked The Neon Demon but I highly prefer his anterior work). TOTDY is more between Drive and Only God Forgives. It's actually a compilation of what Refn's best at : dark atmosphere, neon-lit city filmed mostly during nighttime, quiet characters, long scenes and dialogues, driving scenes, gang stories... Obviously the red and blue neon lights are very present, as you would expect coming from this director but there are also a lot of other beautiful scenes with a more natural lighting, like in a desert with the camera slowly moving from one edge to the other, showing a gorgeous landscape with zero movement for almost two minutes straight. This may sound boring but if you are into contemplative movies you will definitely love it.

All 10 episodes are composed of slow, long scenes so don't expect any fast-paced action TV series with lots of gunfights. Yet there are gunfights, fist fights and everything but they do not set the rythm of the show which remains calm and quiet. Violence is in fact omnipresent and you feel that it can explode at any moment. You just admire the picture like if you were wandering in an art gallery and suddenly blood sprays and stains the canvas. Or gunshots pop and break the silence. There is always violence in NWR's movies, but this violence is part of the contemplation.

As Refn said, this is to be appreciated like a 13 hours movie. Yet there are episodes I would gladly watch independently from time to time because the atmosphere and esthetism are truly mesmerizing. The score by Cliff Martinez is obviously near perfect and matches the scenes so well. My only critic and the reason I don't give it a 10 is that the scenario might have been put too much aside in the last two episodes and I feel like some parts of the story have been wrapped with a bit of easiness. But honestly this is almost nothing compared to the quality of the whole thing.

6/10. It fell apart after the 7th episode

[athanasiosze · 6/10 · 25 August 2023]

It's difficult to write a well-structured and well-written review for this tv series, at least for non-native English speakers like me. I'll try.

1) I liked a lot the first 7 episodes. Yes, there were some frustrating things but overall, it was very good. This was an artistic creation, not just an ordinary tv show, and i respected it. I wish more series/movies like that to be produced. However, the last 3 episodes ruined this. An over-used Oedipus complex. Violence for the sake of violence. No closure, no payoff. I think Refn ran out of ideas and he didn't know how to end it. This was not Art anymore. Dumb and ridiculous maybe, but not Art. Yes we get it, this person had issues with his mother. Yes, we get it, she is the High Priestess of death.

2) The last 3 episodes were so disastrous that almost ruined -retrospectively- even the 7 previous ones. Suddenly, i became furious about the long pauses. I questioned even the actors, maybe they were not so good as i thought. (This Yaritza character was magnetic, at first. Then, she seemed unintentionally funny and boring ). I questioned even Refn's artistic vision, maybe i overestimated it. Seriously, these long pauses between characters' interactions seem to me now just stupid. Every episode should have been at least 15 minutes shorter. What was the point of this slowness? Artistically, this is plain self sabotage. It's disrepect to the viewer. Like a frat initiation. "I will torture you to find out if you deserve to watch my show". I like slow pace, David Lynch's work is slow paced and i love David Lynch. This was not just slow, this was a mockery to the viewer.

3) And what about this spitting thing? Dumbest idea ever. "Oh, let's do something that has not been done since Clint Eastwood spaggeti westerns. Our leading actor will spit all the time, for no reason. Of course it's unaesthetic and meaningless, but, what the hell, go for it".

4) Having said that, i must praise Teller's acting. He was great. Furthermore, this show keeps getting better and better during its first 7 episodes. To be honest, i got used to this extremely slow pacing. There were many intense moments. Visually, it was amazing but there was more to this, it was not just a STYLE OVER SUBSTANCE tv show. I liked the story. The mysticism, the symbolism. I didn't mind the lack of heroes, i mean, they were all villains or obnoxious but this was so good that it lured me. I bought everything that happened. It seemed to me that everything was happening for a reason. It seemed to me that Refn knew well what he was doing. These were not human characters but Symbols. And i almost loved it.

5) So, the choice is yours. I still applaud tv shows/movies like these. They have something to say, they are overambitious and i prefer something like this even if it fails, than a show that just copy previous ones. Nevertheless, the last 3 episodes were atrocious, almost like a parody of the former ones. Refn should think something better for an epilogue.

The Key to a Good Crime Thriller is... ... ... ... ... Pacing!

[leftbanker-1 · 1/10 · 16 June 2019]

Imagine that you are sitting on a glacier. Next to you there is a sled being pulled by a thousand snails. On the sled is a 104-year-old man who is mumbling his dying words while you try to listen while you are also listening to insipid music because you are on hold with your phone company. You're also arguing with the plumber who said it would only take him an hour to fix your toilet and it's been four days now and he mostly just eats your food and watches Mexican wrestling while napping on your sofa. I think this is the atmosphere the director was out to create with TOTDY.

They even take too long to show the show's title, throwing out each word individually and very slowly so that by the time they get to the last word, you have forgotten the others. Take this title sequence as a metaphor for the series.

Why does it sound like a 1950s science fiction movie?

Some episodes run 90 minutes. Are you kidding me? If people went to the cinema and paid to see a feature that gave out so little information, they would lynch the director. It's so incredibly long and stupid and says almost nothing, and what very little it does say could have lasted less then ten minutes onscreen.

So, I guess this is the new style in directing, call it "Real Time" because in an opening episode that was an hour and a half long, that exact amount of time passed in the story. Every time a character paused to think, or scratch, or do anything, we had to watch. Excruciating.

"Hold on, let me go get him," someone says to the cop talking on the phone. This is sort of the leitmotif of the show thus far, keeping us waiting. Does the director think this builds suspense? Watching someone waiting for his turn to be called isn't suspense: it's a lack of common sense on the part of the director because he doesn't know that he can simply jump forward without the completely tedious two minutes we sit through until the cop is called. Almost no information is told in these two minutes. The director seems to think that atmosphere and mood are all that are needed to sustain the viewers.

"I have something to tell you." "OK." Waits SIX seconds to tell us.

The director just can't give us an establishing shot. He has to move at a speed that would never possibly break a neck. Absolutely everything is dragged on to ridiculous lengths

Sorry, Hollywood. It doesn't matter how beautiful or tough-acting she may be, a 30 year-old male cop with a girl of 16 isn't crime noir, it's called pedophilia.