![]() Too Old to Die Young is a very, very long Nicolas Winding Refn movie, which means it has a glacial plot, long silences, brutal violence, and a relentlessly bleak mood. It's highly possible that what's great for two hours will be unbearable when stretched over 13. The series will be 13 hours over 10 episodes, so it feels somewhat premature to offer a conclusive opinion based on two middle chapters. He embodies the title, a man who looks even younger than 30 whose soul is even more weathered than John Hawkes.Ī note on the episodes screened for critics: Like the show's premiere at Cannes, the only episodes Amazon provided for review were, curiously, Episodes 4 and 5. ![]() ![]() Teller is nonetheless riveting, his dead eyes set in a boyish face beneath a Catholic school haircut. In the two episodes screened for critics, we learn almost nothing about Martin, who Teller plays with taciturn menace. He has a teenage girlfriend named Janey, played by Game of Thrones' Nell Tiger Free, who is some kind of precocious creative genius with a wealthy producer father ( Billy Baldwin). He wants to predate the predators, and refuses to do hits for money or over unpaid debts. Miles Teller, Too Old to Die Young Amazon George seems to believe that the end is nigh and Martin is some sort of angel of death sent to protect the innocent and bring about rebirth through destruction. He and a former FBI agent named George ( John Hawkes) kill rapists. Miles Teller leads a large ensemble cast as Martin, a Los Angeles County sheriff with a sideline as a vigilante assassin. for another trip to the dark side lit by red neon and sunlight that feels perverse when it appears, like the stuff that's happening should only happen under neon lights. Less directly, he has a similarly visual-first auteurist sensibility. TOTDY is not as purely abstract as Twin Peaks, but Refn, a Danish director best known for his hyper-stylized, hyper-violent underbelly-of-Los Angeles movies Drive and The Neon Demon, borrows some of Lynch's trademarks: shots of a highway through a car windshield at night, superimposed floating heads over scenes, meticulous sound design that makes near-constant use of a low, mechanized ambient hum. Two years later, it looks more like the former was the case, but there is finally a post- Return TV show: Amazon's Too Old to Die Young, a noir thriller from director Nicolas Winding Refn that brings arthouse cinema to streaming television. At the time, Twin Peaks felt like it could either be a once-in-a-lifetime convergence of experimental cinema and television, the most commerce-driven art form, that was only possible due to David Lynch's reputation and Showtime's momentary willingness to take a risk in a way no network probably ever would it again or a dam-breaking moment where visionary creators could point to and say, "if this was on TV, anything is possible, so I will try to make television that is truly artistically challenging." Since Twin Peaks: The Return aired in 2017 and opened up new possibilities for what TV can be, I've been waiting for a show to follow its lead.
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