The Neon Demon

Nicolas Refn is the perfect director for shooting spectacular spectacles because he can cleverly bombard the viewer with attractive sensations. His talent would be greatly utilized in shooting advertisements and music videos, as well as certain genres of films. He could easily handle refined eroticism without a blink of an eye - if, however, he didn't want to convince the viewer, and most likely himself as well, that he is destined for the world of great art. He therefore chooses inadequate film resources for his goals, discovering banal, universally accessible truths and attempting to camouflage depth where it tramples in the quagmire. It's a shame because with his reputation he should have no problem persuading leading character actresses to undress in the interest of the Muses. However, in this affected, elongated pose, Refn becomes annoying. I will give him 30% for the participating ladies, and he should be glad that I am feeling sympathetic and that I'm squinting my eyes at this desperation until it hurts. (04/03/2021)

A non-mainstream, visually captivating, hypnotically immersive experience for those who can appreciate Nicolas Winding Refn's extraordinary visual sensibilities. But Refn is also explicitly provocative, completely unnecessarily so, and I could really do without a few scenes (sex in the morgue, yuck!). So when I add up the pros and cons, Refn ends up with a draw, but the kid has talent for more, much more. That's probably how Jaromil Jireš would shoot it when he was making Valerie and Her Week of Wonders, he would be a bit of a pervert and permanently on drugs. (05/10/2016)

Spoiled pretentiousness with two hours of running time and two twists. Cheaply provocative, grandly announcing something that will never come, and most importantly – completely unnecessary. The attempt to approach the incomprehensible spectacles of David Lynch is too shallow and self-absorbed. I understand that all the colors, wordless minutes, and repulsive scenes have metaphors that Nicolas Winding Refn enjoys talking about, but at their core, they are all so disgustingly trivial that they cannot even touch a clever or sophisticated effect. I was looking forward to more Danish-Hollywood hypnotism because I love Drive, and just narrowly missed Only God Forgives. But the main character's vacant stares don't work here because they have no narrative foundation to draw from, and the supporting monsters in this case are more like screenplay flaws. Nicolas just lost even the most patient of us. (25/09/2016)

I thought this was going to be a cinematic experience, but it's really just boring as hell. I almost had the feeling that the finale was just a beginner's attempt to shock as much as possible. And perhaps it worked a little because that suffocation can really affect a person. Very well acted. But otherwise, just disappointment from a boringly predictable, albeit intense, story that tries to be different in form. (11/10/2016)

Refn is one of those directors that I always wished would make a horror film. The announcement of Neon Demon fulfilled one of my dreams as a cinemagoer and the expectations couldn’t have been higher. After the responses from the première in Cannes, I still believed the film will grip and captivate me instead of sending me to the other side of the fence, with the disgusted and annoyed viewers. But in the end it was worse – it was just meh! Boring. It didn’t arouse any emotions, positive or negative. Audiovisually, it’s beautifully empty. (12/09/2016)