Nicolas Winding Refn
Too Old To Die Young

When I heard that a Police/Noir TV series by Nicolas Winding Refn was coming out, I told myself that I couldn't miss it.

Plot: Detective Martin Jones leads a double life: a policeman on one side and an assassin serving the criminal underworld of Los Angeles on the other. A deep existential crisis leads him to delve deeper into the violence of his world, encountering drug cartel assassins, teenage killers, members of the Yakuza, and the Russian mafia.

Let's say that "Too Old To Die Young" is in full Refn style, with an incredibly slow, sometimes exhausting pace; not recommended for those who don't like the Danish director, but recommended for those who do and who appreciate expansive and decadent atmospheres, made of nuances and details, highlighting the emptiness of most characters and a society at its end. In reality, protagonist Martin follows a strange path, initially as a policeman as he is, he seems to descend into the depths of crime to "make ends meet," only to find almost a calling in finding killers and sexual maniacs to send to the morgue. The settings shift from an aseptic, degraded, and ghostly Los Angeles to a bright and prosperous future in Mexico, meant in terms of criminality. It is in Mexico that Jesus returns after his mother's death, to climb the criminal ladder and encounters the mysterious Yaritza, who will remind him a lot of his mother, as he is caught in a true Oedipus complex. And then there is the ex-cop and terminally ill Viggo, who, in the pay of Diana, will meet and bring Martin to his new vocation.

After the commercial (but great) break of "Drive," Refn's aesthetics continue, continuing the visual experimentation and journey undertaken with "Only God Forgives" and "The Neon Demon," works not exactly for the large audience or of great commercial success. It is strange in this regard, but positive, the carte blanche that Amazon Studio gave the director, who was able to unleash his personal touch in more than 12 hours of footage divided into 10 episodes. A considerable risk, as the work will heavily divide viewers. The topic of the incredibly slow pace, almost exasperating, was mentioned, and this is one of the reasons that will cause a stir. Many will not be able to continue, but those who do will notice, over time, a slight acceleration from the third episode compared to the first two, or perhaps it is just the habituation and awareness of the viewer to a not quite standard event in today's landscape. In fact, "Too Old To Die Young" is an event that brings Refn's cinema to streaming, with its pros and cons, but such an event does not happen every day. In this, Ed Brubaker is also worth mentioning, alongside Refn, who was the author and crucial in the outcome of the screenplay, which spares no criticism of American society, particularly in the representation of the lawmen, literally portrayed as idiots, whose scenes will include the most comedic moments of the series.

The psychological exploration of the unflappable protagonist Martin, played by the talented Miles Teller, is one that is hard to achieve, given that he is a cold, ambiguous character, seemingly without emotions. It is a long and tortuous journey. Likewise, the other characters all seem, in their own way, poised in a descent into hell, from which they have no way (and will?) to ascend. A descent into hell not exactly literal, but often dictated by their status or family affiliation. In the rest of the cast, there are great actors: from John Hawkes to Jena Malone, from the actors in Mexican roles to a revived William Baldwin in the role of the cocaine-addicted and perverted father of Martin's underage girlfriend. An honorable mention goes to the cinematography. It transitions from neon at night to bright desert landscapes by day. Spectacular. Let's not forget Refn's loyal Cliff Martinez with the soundtrack, obviously electronic, but beautiful, particular, and psychedelic. Finally, violence, not the least of elements, explodes fiercely and brutally.

"I found 'Too Old To Die Young' magnetic. These incredibly slow camera movements allow you to admire the details and the setting of the scene. The deafening silences are almost infinite and often worth more than words. A classic 'slow burn' series that, as it progressed, I became more addicted to it, as every great series should do. For many, the problems will arise right away, but the more patient viewers who manage to get past the first two episodes will be abundantly rewarded.