I wasn’t going to write another review of this film purely on principle, but given the astounding and baffling response to my previous (and admittedly: brief) write-up, I feel I might as well reply to the male outrage and their combative, redundant criticisms.

Despite what many commentators seem to think, I do actually understand that people might see The Neon Demon as NWR’s critique of the fashion industry (or society in general) and the way it exploits women. However, I personally do not believe that it is effective in that pursuit.

A collection of aesthetically-pleasing visual symbols set to neon lighting and an edgy, hypnotic score which are displayed without discernible weight or impact does not automatically convey a powerful…

The Neon Demon is a lot of things. Transcendent, hypnotic, and stylish are a few words that come to mind. This film had me hooked from the beginning credit sequence and it never let me go. I'm still kind of in a daze to be honest. Every frame of The Neon Demon is executed to absolute perfection. I cannot give the visuals enough praise. Honestly this is one of the best looking films I have ever seen. It's a five-course meal for the eyes. Also, the soundtrack/score is incredible. I RARELY buy a film's soundtrack and when I say rarely I mean never but I have already purchased the soundtrack from Amazon. Elle Fanning and Jenna Malone were both fantastic.…

My biggest issue with "The Neon Demon" is that it's too obvious with what types of themes and ideas it's presenting.

I get that the acting from each of the characters/acting is supposed to be stiff and lifeless because that's how we present models in the world of fashion.

I get that the reason why the film feels so shallow and empty is because of those exact same reasons and a lot of the pretty imagery is mostly in false to paint an empty fantasy of LA.

I get all of it.

You know why I picked up on these themes so easily? Because the movie practically SCREAMS these into your ear drums with a god damn mega phone. Each…

A prime example of why men should not be allowed to make films about women and/or the experience of being a woman. I knew going into this that I would hate it, but it far surpassed hatred and ventured into the realm of vehement disdain and disgust. 

Most of the scathing reviews I've encountered on letterboxd have adamantly addressed the problematic nature of this film so I won't bother to waste any more of my time; but suffice to say, The Neon Demon further solidifies my aversion to everything that Nicolas Winding Refn creates. His affinity for vapidity and "style over substance" is not as intriguing as he seems to think. The fact he actually dedicated this film to his…

P U R E T E R R O R

The Texas Chainsaw Massacre is Nicolas Winding Refn's favorite movie. This is not immaterial to what follows. To discover that you are within a universe of fear, of unstoppable dread, of the total loss of agency. A universe made from rules inimical to your well-being, a universe that will consume you whole with extreme malevolence, indifferent or pleasured by your confusion, your suffering. In some movies there is a sense of fair play, of an unwritten contract with the audience, that if a level of engagement or trust is placed in the hands of the film, the film will reward or pay off that assumed trust by delivering a satisfying…

Danish filmmaker Nicholas Winding Refn creates film from the vivid images he paints in his head. Often the result is beautiful and hypnotic as in Bronson, his Pusher trilogy and especially 2011’s Drive. Sometimes it’s less than stellar like his 2013 effort Only God Forgives. In the case of The Neon Demon, it’s downright stultifying. It has a totally believable premise—that the fashion world of Los Angeles is creating jealous, vindictive models ready to suck the life out of one another by becoming vampires. It’s just that the movie itself feels sapped of any lifeblood. Often it just lies there.

Elle Fanning is Jesse, the new kid in town. She’s got natural beauty which makes everyone hate her. That is,…

Nicolas Winding Refns The Neon Demon kommt in keinem Moment an Drive heran, obwohl Refn tut, was er am besten kann: in langen Einstellungen regungslose aber ausdrucksvolle Gesichter zeigen, unwichtige Dialoge mit Ambient-Tracks übertönen, uns in weitwinkligen Aufnahmen die Charaktere in ihrer Umwelt präsentieren, die Farbdynamik bei Bedarf auf +150 zu drehen und situative 70-90 prozentige Zeitlupen zu verwenden. Das sieht alles fantastisch aus, ergibt im Kontext des Films Sinn und konstruiert eine tolle Atmosphäre - richtig überzeugen kann mich der Film aber leider nicht, da er für mich persönlich die typische Problematik eines Paul Thomas Anderson Films aufweist.
Genau wie bei Anderson sind viele von Refns Filmen formell sehr stark, da alles perfekt konstruiert ist und zueinander passt. Damit…