Ol’ Qwerty Bastard

NWR is the man, no doubt, no doubt.

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Music Blog / RYM / Last.fm / Qwertyy's Journal of Music Reviews and Other Assorted Ramblings

Justthefacts

Early reviews of The Neon Demon say it's essentially style over substance like a Only God Forgives, but I loved Only God Forgives so fuck those people. I never watched his Pusher trilogy but Drive, Bronson, Only God Forgives, and Vallhalla Rising are all bonfide great films.

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Frownland

Definitely watch the Pusher series. People who say Only God Forgives is all style over substance are probably the same people who think that Inception is crazy confusing.

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Justthefacts

I get what they mean by it having little to no story at all and Gosling having only 13 lines and whatnot, but the movie conveys it's story through imagery and symbolism. At least that's what I picked up from it. Sort of plays out like a gonzo Shakespeare tragedy of sorts. I'd also like to think people that enjoy it aren't apologists and actually enjoy it for what it is.

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Frownland

That's a great way to put it.

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.

Justthefacts

Take everything you love (or hate) and expect from Nicolas Winding Refn films. Style, fetishes, gore, cinematography, score, neon lights, dream-like sequences, and literally heighten each of these senses past human cognition. He did it with Only God Forgives, and now he's done it again with The Neon Demon. Proving once again that him as an experimental director is here to stay, and perhaps the days of Bronson and Drive are all but over. I'm thoroughly pleased.

The Neon Demon showcases a seriously young Elle Fanning playing a woman who lies her way into the modeling industry only to be catapulted to the top of the game, to the chagrin of many another models who've worked harder, and longer to get where they're at. From there, tensions are established and a threat looms throughout the film, yet it isn't so obvious at first glance. To actually get to this certain "threat", you're very much subjected to gorgeous cinematography, a sheer admiration for neon lights (no surprise there), and a hugely synth-heavy score from The Man Cliff Martinez. It's also NWR's least violent film as well, which isn't saying much considering what violence their actually is is very much literally all for shock value, and because he loves to fetishize violence, it's very self aware at how extreme these few moments are. It might not be much, but it's graphic in ways I never saw coming.

Many will scoff at it's "thin" characters and even "thinner" plot. Which is valid, I'll admit that. It isn't all peaches and cream in those two departments. To me, the story is more narrative driven than Only God Forgives, and certainly with more dialogue. But at times the story really drags on with nothing in particular to convey. Some moments of dialogue show some of the worst acting in a Refn film, not to mention the actual dialogue being somewhat cringeworthy. Their is one moment in particular where she's with this boy she (maybe?) likes and confronts him at a hotel after a tense altercation at a restaurant and I literally rubbed my hand through my face. It was Lifetime worthy, not big-screen worthy. Very few moments like these, but they're their and can't be overlooked. Aside from those few quibbles, Elle Fanning actually gives a very subdued, very naïve and timid performance with a few moments where I literally gasped at how great she is.

All In All, The Neon Demon is Nicolas Winding Refn perfecting his fetishes in the best possible sense. I walked to my car thinking about it and I write this with nothing else on my mind. I know days will pass by with this film still all up in my brain. Also the third act is gonzo. I know for a fact it'll divide it's audience. You'll either love what happens, or absolutely hate what you just witnessed. I don't think there'll be any indifference towards it, it's just one of those two. I for one had to think hard about it before I came to the conclusion that I loved the direction Refn took it in in the last 20 minutes. Another impressive visual story in the Refn canon. B+

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The Batlord

*there

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Justthefacts

At least I know you read it.

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Justthefacts

I have a litany of records I've got high expectations for. This year hasn't let me down too much I.e The Avalanches, Radiohead, Swans, Kanye West, Nice As Fuck, BadBadNotGood

Here's hoping these next ones make up the best year in music this decade.

Nick Cave & The Bad Seeds - Skeleton Tree
Frank Ocean - Boys Don't Cry
Joyce Manor - Cody
Danny Brown - Atrocity Exhibition
Gonjasufi - Callus
Clipping - Splendor & Misery
Jack White - Acoustic Recordings
Okkervil River - Away
Wilco - Schmilco
Against Me! - Shape Shift With Me
Warpaint - Heads Up
Bon Iver - 22, A Million
Conor Oberst - Ruminations
The Radio Dept. - Running Out Of Love

And apparently a new Metallica record is coming out too?

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Justthefacts

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The Best Collection You'll See Today