For creator Nicholas Winding Refn, Netflix's series CopenhagenCowboy feels like a greatest hits oeuvre of vibrant stylization. roryhasopinions reviews:
had more or less deflated. Where has he been since? The same place many disillusioned filmmakers have turned to: streaming.was an overwhelming descent into moral and masculine rot, filled with hypocrisy and violence-begetting-violence. It was thematically solid and oppressive in tone—and also 758 minutes. Episodes stretched to 90+ minutes and were characterized by long, silent shots of motionless, opaque characters staring with dead eyes.
But despite this , the series works. It’s a surprisingly easy watch, the plotting is fairly accessible and rarely confusing, and despite its visual choices feeling more elementary than complex, they’re always effective. Often you’ll find yourself submitting to the stretched out, dialogue-free sequences that plainly direct you towards a non-verbal, supernatural interpretation of our characters.
People often complain about the poor structure and pacing of streaming television, the possible side-effect of inexperienced rooms or lax creative oversight not constraining episodes to network television standards. Usually, it’s a detriment, but you can’t imaginetaking a more conventional structure. When a character tells Miu she’s at the point of no return in the fourth episode, it’s striking how out of step this screenwriting beat is when half the runtime has already elapsed.
As animalistic demons increasingly demand our attention, it’s a shame the series’ final stretch feels so clumsy. Miu’s characterisation reaches a resonant and well-photographed completion in time for a final confrontation, but it feels intentionally cut short and clearly lifted fromFabelmansoffers something daring for Netflix’s large audience, but even if it’s unlikely to draw many non-NWR converts, it should hopefully convince apostates to give his streaming work a shot.