User reviews

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...

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.

This incoherent mini-series could easily have been a 90 minute movie and we wouldn't have missed any story elements. It would have been fast paced, but you wouldn't feel the urge to hit the fast-forward button, as I did.

There's a not a lot that make sense in 'Copenhagen Cowboy'. We are introduced to a wide array of characters who are somehow all connected and tied to the underworld, but most character arcs are left uncompleted. In the center of it all there's the emotionless protagonist with zero chemistry.

It's a shame that NWR focuses more on cool-looking neonlit shots, and slow moving 360 degree pans than telling an engaging story, because I prefer substance over style. Style should be the icing on the cake and serve the story, not the opposite.

A fascinating production that requires some perseverance by the viewer. Be prepared for a very meticulously filmed story that takes some time to more or less fully understand. The pace is slow in every aspect: in dialogue, in plot development and in cinematography. Acting is very minimalistic and retained and melts beautifully with the way scenes are filmed. The story has as much importance as the visual experience.

This series is definitely not for the impatient ones who expect an easy to swallow, quickly paced story. However, if you're ready to have some patience, are able to accept that not everything will ever become fully clear and are open to this kind of cinema, this may just be right for you. A gem in Netflix productions.

Copenhagen Cowboy may be one of the most plodding shows ever put on Netflix, but as per usual for Nicolas Winding Refn (presenting his first Danish-speaking project since the Pusher films), there are both mystical and purely visual aspects to keep you transfixed.

As I noted in my review of Too Old to Die Young, this is not a director who simply points the lights and cameras at the actors and hits "record". This is a director who knows how to make a significant prop glow a hellish red in an otherwise purple frame; one who plans his outdoor shots so that the twilight has just the right shade and intensity; one who knows how to frame his actors so that the kaleidoscopic city behind them seems both dead and alive at the same time... Even among other directors who fancy neon-drenched '80s nostalgia and Neo-noir ambiance, Refn sticks out as an especially deliberate filmmaker.

What makes Copenhagen Cowboy particularly interesting is that it plays like an atonement for the directors' past machismo narratives (unintentionally or not, his various Gosling characters have become "Sigma Male" icons) and lack of female representation. Doubly fascinating is the lead herself, Angela Bundalovic as the mysterious and possibly undead Miu, who Jasper Rees (writing for The Telegraph) described as "an unsexualized androgyne exuding an enigmatic potency", and that, at every other turn, the camera seems to be trying to gaze into her soul -- to figure out just who or what she is.

His reading is that she may be a vampire, a sprite, or some sort of angel that (as she moves through the criminal underworld of Denmark, starting in a sex-slave den and ending up amongst corrupt lawyers and chauvinist millionaires) has been sent to avenge the female sex. He describes her enemies: "a Serbian pimp, a Chinese crime boss, a Danish lord of the manor who preaches the primal power of the cock to his murderous son."

I agree that Copenhagen Cowboy has a lot to chew on in terms of themes, even if the show as such can be a slog to watch. The boredom is, of course, alleviated by the visuals and music (and sometimes the humor, particularly when Refn himself appears and when Zlatko Buric converses with a celebrity guest I won't unveil here), but I understand if some viewers won't think it's worth it.

As for my more local -- Scandinavian -- papers, it seems Refn's return to the Nordic region isn't cause for too much celebration; verdicts have ranged from "sluggish as syrup" to complaints that it's nightmarish, nasty, brutal, and whatever else. One blogger wrote, "I don't think I've ever seen so many horrible people of so many different genders and cultural backgrounds doing horrible things". Of course, to me, that's rather like complaining that there are cars in the Fast and the Furious films.

There is one thing about Copenhagen Cowboy that unnerves me more than anything else, however, and it has to do with the pigs that keep appearing throughout the show. It's not that I have trouble figuring out the meaning of said hogs; what it is they either symbolize or poke fun at. Instead, my issue is this:

A few years ago, I decided to use the GTA V "Director Mode" to create a short film in the style of Nicolas Winding Refn (complete with synth-heavy music from Drive, Only God Forgives, The Neon Demon, and his The Wicked Die Young album). It was named Butcher vs. Pig-Man and told the story of a pig who escaped from its farm and -- since "animals are people too" -- grew up into a vengeful pig-man, played by one of the player characters in a pig mask and speaking entirely in pig noises.

And now, here's Nicolas Winding Refn, making a show that heavily features pigs and, yes, a pervy guy who speaks in pig squeals. I'm not saying Refn has seen my video (hardly anyone has), but this is a weirdly specific coincidence. I might've considered asking for royalties if the video wasn't full of unoriginal sh-t anyway.

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.

Instantly I felt 'at home' and in SUCH a familiar place . . . What was this like, I wondered, as it folded itself around me, pulled me in and kept tapping me on the shoulder. Fascinating in its staticity as it continually slithered forward. I knew it was beyond slow and still it completely entertained me. Away from it, I looked forward to returning . . .

And then I remembered what it reminded me of 'Too Old To Die Young.' The spitting image. The twin. And yet nothing alike: different settings, different strings of stories. How did he find exactly the same all-absorbing delicious vibe and sustain it.

At the very very end I sat flummoxed. The end made it all seem a prelude. The end seemed a beginning. Does NWF intend a season 2? Interesting.

Ambitious miniseries with beautiful shots throughout and atmospheric lighting. The neon lights, production value and overly long silences were the highlights of the series. I was pulled into a strange world where I absolutely couldn't tell where it was going. The first two episodes require patience, however once you are into the story, Copenhagen Cowboy is something new and engaging.

The colours and cinematography are beautiful in a harsh environment. It's slow - sometimes very slow - but once you enter the meditative state, it makes sense. Though it has dark storytelling and violent characters, there's ample of hope and kindness involved as well.

The technical brilliance in the direction, cinematography and score can't really be denied. The reliance on specific shots - static camera, 360 degree pans, slow zoom is highly effective and everything is calculated to build maximum tension.

However, I feel like, it could easily have been a 2 hour film instead of a miniseries as it would've been fast paced and wouldn't even miss any story elements.

In a interview Refn mentioned the reason why he choose the title; Copenhagen Cowboy for his new series.

He told the reporter; It sounded cool.

And that just pretty much sums up Refns style as a filmmaker since the making of Drive. Nothing is motivated by the themes or the characters, everything is motivated by coolness.

Extremely long panning shots (most of them absent of any motivation, they are just there because the shots look cool), every scene is bathed in either red or blue neon lights (or both), why? Because it is cool! Long pauses after every line of dialogue delivered by every actor, why? Because it is cool!

Then you have the other usual Refn trademarks; short outburst of extreme violence, a Cliff Martinez synth score and a plot that centers around revenge.

Refn hasn't developed as a filmmaker since 2011, and every movie and series he has made since then has been a repeat of what made him a breakout director in the first place.

Also someone needs to tell Refn that he is not a screenwriter, his attempt at dialogue is written like someone who has never spoken to a human being before.

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.

Each episode meanders painfully slow invoking the feeling that they just made it up along the way. The loose storyline's within Copenhagen Cowboy deliver an artistic hollowness that just leaves you wondering why you're watching it. It's one of those shows that you keep watching in the hope that it gets better. It doesn't. Then you'll find yourself watching the next episode trying to work out what you've missed, thinking that it can't be as pathetic as you think it is. It is. You might even watch the last episode twice to make sure you didn't miss something of merit. You didn't. Most people won't find it entertaining.

This is fantastic. Dripping with moody elegance. I feel like I'm placed in a meditative state when I watch Refn's direction. He makes me want to be in this world. There are subtle hints of Kubrik, Lynch and Noé. But, overall Refn has a very unique style of his own. It's captivating slow burn is not for the average viewer, it's a shame that even most adults don't have the patience for this type of work. Everyone wants a quick bang for their buck and watch the same regurgitated Marvel movie 50 times over. I for one am so thankful that I don't always have to head backwards in time to find great filmmaking. It's refreshing and inspiring that I might be able to continue to look forward to an abundance of quality. Have a little patience and get on this ride.

The story of violence and crime told in the way of stillness, quietness, and the void. An extremely slow and minimalistic approach to a neo-noir story, with the injection of dark surreal fantasy and modern gothic fiction. I've never quite seen anything like this before, truly something unique. I especially loved its mixing of noir and fantasy. People basically diving into this ocean-space of neon lights; bathing in blue, red, and yellow/gold. Probably the best shot/directed thing ive seen recently. My eyes basically became the one with the movement of the camera - the way it zooms, spins, pans, etc. The final episode / ending made me go Huh??!! But there isn't probably a concrete answer. That cameo cracked me up tho.

The first two episodes require patience, however once you are into the story Copenhagen cowboy is something new and engaging.

The colours and scenery are beautiful in a harsh environment. It's slow - sometimes very slow - but once you enter the meditative state it makes perfect sense.

It's also a huge contrast between the main role - an alien like altruistic girl vs killers, gangsters and hedonists.

Copenhagen cowboy do have som references to films like Hannibal (brutality and pigs eating people dead or alive), Drive (colours, music and scenery) and David Lynch in general, including the ufo theme from the last tween peaks series. That said, this series adds something new to the table and is a positive surprise. Netflix really tries to be creative and innovative. Kudos.

It's great, it's beautiful, but above all it feels so real! He captures details like Kubrick. I love it! It's just one great ride through the world of NWR. If you don't like that. Go bake a pancake or wash your car. If you are a sucker for it like I am, enjoy the show :-). Had to wait months till it finally premiered, but it was worth it. True, a lot of the cinematography is what you could expect from NWR, but hey! That's what it makes so great. I think its impressive how he manages to use 'his' colours again and again. In this story it works for me even better! Somebody wrote that the story is shallow. I don't understand or underwrite that. In my opinion it is the message that counts. And that's not shallow in any way. True life shows its gore and unpleasant face...

Nicolas Winding Refn's latest mini-series, "Copenhagen Cowboy," is a visually striking but ultimately shallow and repetitive exploration of the criminal underworld in Copenhagen. The main character, Miu, is portrayed by Angela Bundalovic as a blank slate who is largely disconnected from the events happening around her, which can be exhausting for the viewer. The themes of man's base instincts and the comparison to animals are repeated throughout the series, but not fully explored. While the cinematography is impressive, the slow visual storytelling can be a drag. Overall, "Copenhagen Cowboy" fails to fully utilize its potential and falls short of Refn's usual style.

Uplifting look at all the wonders of life in Copenhagen, filmed in sunset shades of neon pink, purple and blue.

Series begins when Miu, a talented young lady who only wears a blue tracksuit, is adopted by beautiful Rosella and her joyful brother Andre. They run an orphanage for homeless nymphomaniac girls. Rosella and Andre work hard to teach the girls how to dress attractively and wear makeup. They even set up the girls on dates with high quality men, all in a controlled, supervised environment. If Rosella has any shortcomings it is that she married Sven who is mute. But he does squeal like a pig and enjoys kink BDSM! Sven brings joy to all the girls he meets.

All in all, most of the girls exceed expectations. When Miu graduates, she leaves Rosella feeling warm and tingly all over!

Miu has various adventures afterward including living behind a high end Chinese restaurant where all the kung-fu champions come to dine. This restaurant is famous for their pork, because they raise their pigs outback, feeding them a high protein diet. In fact, the kung fu guys love to donate to keep the friendly pigs happy and healthy.

Miu also visits a young blond man whose family raises pigs behind their castle. The young man has an unusually close and special bond with his mother. She likes to watch him work out naked for some reason, while his dad (her husband) travels the world donating his DNA to the poor. Miu and the boy have a complicated relationship, but he ends up in a better spot, dressed in stunning haute couture from head to toe.

Just like Mary Poppins, Miu brings light to everyone with her adventures in Copenhagen. This series is fun for the whole family to watch. It might even make you want to eat pork in Copenhagen!

Man... This is hard for me to admit I'm a huge NWF fan but I think he went too far with this one. Someone should've held him back a little bit the man clearly can't help himself... The premise here is interesting but by the second episode I couldn't with all the long shots. It looks good and I get what he's going for but atmosphere can only be used so many times before you tune out! Let me summarize this for NWF fans: Did you like drive? That's easy everyone liked drive so let's move on. Did you like the neon demon? If no then this is clearly not for you!... Otherwise for me: I liked it. Alright then did you like Only God Forgives?? If it's yes then congrats this is for you, you are a true believer. If you weren't a fan still give it a shot but I doubt you will last 2 episodes. As for the peasants out there: DO NOT EVEN BOTHER! My family said and I quote "well this is weird..." needless to say I watched the second episode alone before coming to the same conclusion. God bless you NWF but you need to get out of your head. Story and pace needs to be prioritized over style and introspection otherwise only snobs and artists show up and that would just be an absolute waste of your talent.

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 was slightly amazing to find this is whilst checking in on Netflix as my intention had previously been not to renew my my sub. This production gives me hope that they are open to more interesting projects than the usual formulaic ones that seem to prevail.

As others have mentioned, the first couple of episodes are a bit slow but it improves a great deal - just go with it.

The cinematography is excellent and it must be good to watch on 'phones which I might have tried were my eyesight better.

Certainly, the use of colour creates some memorable shots.

It was also good to see some of the Pusher cast again and a second series will be eagerly awaited.