Copenhagen Cowboy

Fortunately, that means all 6 episodes of 'Copenhagen Cowboy' are gorgeous to behold even when the narrative is seemingly skimming the borders of interesting areas to explore (and subsequently explain).

Anyone familiar with the director's oeuvre will know what to expect, but he still manages to bring something fresh to each episode with trademark camera flair. Tracking shots and slow pans are good, and I particularly liked his use of the 360 degree camera; it stylishly captured conversations, environments, and specific events with a smoothness that lulled you into acceptance of the show's pacing.

I'm not sure I understood everything the story was trying to do, especially in the final episode where it took on more Lynchian dreamlike qualities with supernatural flourishes, but there was always good moments sprinkled throughout, and the visuals were never less than stunning. Neon-drenched might sound cliche, but it's apt for describing Winding Refn's affinity for lighting a scene with almost otherworldly bluish hues and moody reds. Combine this with a synth score that always seems to be evolving from episode to episode and it's hard not to become enraptured by the audiovisual experience on offer. It's a tidal wave of style, so just sit back and ride it, basically.

So the cinematography, soundtrack, and stately pace are all signature elements of the director, but what about the ultra-violence so common in his work? It's graphic on occasion, but nothing like we've seen before. However, the fight sequences, though brief, are great. The choreography is simple, elegant, and augmented by the sound design, while the characters fight almost robotically. It's different, but also effective, and suits the characters involved as they are all quite emotionally reserved. Plus that final fight in the finale is arguably one of the most stylish sequences I've seen for some time; the way the sound design is integrated and the way the lighting enhances the framing is glorious.

Overall, 'Copenhagen Cowboy' leaves its narrative wide open for a second season it probably won't get, which is a shame, because even though I didn't love this, there's much to like, and certainly room to improve. Nicolas Winding Refn shows off everything that makes him a uniquely stylish director in the industry, imbuing every frame with something entrancing to soak in and showing real quality with use of camera, and though the story needed more work, there's few series's out there that look and sound this good.

7/10.

I love the films and television of Nicholas Winding Refn and within one episode I was fully back in his neon soaked, grimy, atmospheric world of static tableaux, the worst humans imaginable, extended circular pans and long signature pauses between speech or action.

I sometimes wonder if his effectively borderline mute protagonists are a direct criticism of people who use words too freely with no consideration.

As the mass Netflix crowd slowly find this I'm certainly expecting a slew of downvoting to occur and all the usual complaints about camerawork, lack of story, slowness and how quickly people fell asleep.

I hate these tragic people and equate them with the targets of Refn's scorn. The low, emotionally impotent, the unthinking and in this case thematically, the ultimate bottom-feeders, the pigs.

Basically if you like his previous work you will most likely love this too. It's been so long since the awesome Too Old to Die Young and you can see that he has certainly put those 4 years to good use.

It's weird and slow. Idk why someone would call this revolutionary, I'm assuming because of the weird shots and lighting but this has been done. I will say this could have been edited just a tiny bit tighter. I'm very patient when it comes to films I watch but even this had me tempted to fast forward at times. I'm all for atmosphere and playing of the tension and all the goods that come with that but there's an art to it and you missed the mark on several occasions on here to where it seems too drawn out (subjective). Okay now I got all the bad stuff out of the way let me tell you why it's worth your time. It's a beautifully shot piece of art. Lighting is great and always motivated by the scene. The acting is really well done and the story kept me guessing. Okay now for the real reason I'm here. I believe and could easily be wrong but I'd imagine he didn't just pick the title because it was cool. I think it's more a nod to the fact that this series is essentially a Modern take on a Western. Miu is essentially our out of town hero coming into town to save it from the evil. Now probably should finish the last two episodes before I get too far ahead of myself. But enjoyed the first 4. I'll recommend. And to.

It's great, and rare, to be presented with a TV show that leaves you wondering for hours and days afterwards if it's any good. This is something to be cherished, especially in an entertainment world chock full of formulaic drabness built on algorithms, fan service and commercialism.

Copenhagen Cowboy (a terrible title to be fair), even more than Refn's divisive Only God Forgives, is a death dream with a very loose narrative woven together with a smorgasbord of ideas and styles inspired by the mysticism and folklore from multiple cultures. It's a dizzying and head-scratching six episodes to which it's pointless to try to ascribe too much plot or even thematic analysis. Some will argue that there's just not enough going on to justify any sort of runtime longer than 90mins but the fact is that anyone who hates this is a series would hate it just as much as a movie.

It's at points breathtaking to behold, and utterly infuriating at others. The reliance on specific shots - static camera, 360-degree pans, slow zoom - is highly effective at points and annoying at others - but everything is calculated to build maximum tension and suspense, and serves to really bring the few scenes that aren't filmed in this way to the viewer's attention as being significant.

The technical brilliance in the direction, cinematography and score can't really be denied, even if it's not to your taste. Every actor is riveting, especially Angela Bundalovic who as the enigmatic Miu delivers a movingly minimalistic, affecting, and extraordinarily physical performance in spite of her diminutive size.

Love it or hate it, Copenhagen Cowboy is an experience. It's not style over substance - the substance is by and large the style itself, so if the style isn't for you then you'll certainly find yourself at sea. In coming to a conclusion of whether I liked it or not, I realised I could only think of a couple of people I'd recommend it to. And because those people are my favourite people who I trust the most, I figure it's something I definitely liked and enjoyed. Go make your own mind up...

The direction of photography does an excellent job with the lighting of the scenes .. Some of the viewers may find it to heavy for the eyes , too much neon , but this plays a role in these scenes...The evolving of the story of a young girl spinning round the ugly world of drugs and human trafficing , is slow , but on the other hand the emotions you get while watching the episodes fullfills the viewer.

I was too sceptic about starting the series , it is a sad story that comes from the darkest places of our world... As an amateur photographer i saw a lot of things coming out the viewfinder of the camera , pay attention to the static scenes , on a single face , or a wide plan with a lot of people ..like time freezes for a while.