User reviews

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.

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.

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.

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.

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.

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.

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.

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.

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.

Well, I tend to think if the name of Nicolas Winding Refn was not included, I would probably have not even started watching it... But yeah, following it was not easy, although the story was there, a lot of thrill and many twists and turns included, but the pace was evidently meant for 2x FF... True, it meant some style and bold solutions, but it often had too many pretentious moments plus I started to wonder how all those "justified killings" had no legal consequences. The main characters are like half-zombies, not fitting in the US context so much, and the Latin dimension brings along too much lore. The performances themselves are not bad, but all this tardiness...

The short final episode was also too odd... But e.g. Tarantino and/Rodriguez could create a catchy 2.5-3 hours movie out of this Series. Fingers crossed :)

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

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.

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

"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.

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!!!

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.

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.

We cannot be certain of our true selves for we are not the rational creatures we purport to be. We lie to ourselves constantly. And when we do reveal ourselves - it is often with the suddenness and venom of serpents. At the heart of Too Old to Die Young lies a mandala of irrational selves, where characters are adrift in a vivid dreamlike emptiness that is both conscious and unconscious and "time is a river that flows in both directions."

The characters cannot help but to be molded by the irrational, by choices, accidents, violence and experience. You do not need a brick by brick plot in order to decipher them-for with these characters the mighty stone has already dropped into the river when we meet them - and the rippling gyre is already in motion. This is the genius of Refn. The ripples widen, slow and fade like the pure tone of a Tibetan gong.

The cinematography is bold and saturated; the location and settings and lighting is equal to the characterization. It is beautiful and challenging and violently poetic. If you need to cling to manifestations of order and generalized stereotypes to enjoy a work of art - then this won't appeal to you.

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.

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.

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.