Muito Velho para Morrer Jovem

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.

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.

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.

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.