ThomasMuf Reviews

M*A*S*H (1972–1983)

Started Out 10/10, Finished 3/10

[8/10 · 25 March 2024]

I've seen every episode, many of them multiple times over, and I'm still watching it today.

That said, the first 3 seasons were definitely the best: No mushy sentimentality, lots and lots of belly laughs. And they had McLean Stevenson (who made the biggest mistake of his life by calling it quits), and Wayne Rogers (ditto). After that, it all went downhill.

Seasons 4 & 5 were still good, though Mike Farrell was pretty bland, and Seasons 6-8 were so-so, until Radar left. Everything after that was increasingly sentimental, preachy - and not funny anymore. Alan Alda took over, and the show never recovered. The last episodes are pure water torture.

Major Crimes (2012–2018)

As good as The Closer

[9/10 · 1 February 2023]

I was skeptical about the show at first, following in the tracks of one of the best police procedurals in history, The Closer. Mary McDonnell played such an unlikeable and stiff character on The Closer I couldn't imagine her replacing the wonderfully off-center Kyra Sedgwick. But a great actress can be whoever she wants to be, and in Major Crimes McDonnell displays so much heart and soul it totally transforms her character. Here, Sharon is likeable and relatable and very much the centre of the show. She's terrific. Back are, of course, the wonderful group of supporting characters, brilliantly played as before. Of course, everybody's favourite character is Provenza, and as played by G. W. Bailey, he's mine, too. The stories are as interesting as those on The Closer, which is unsurprising considering the behind-the-camera talent are the very same people. In hindsight I would have loved a few more lighthearted Flynn & Provenza episodes, I enjoyed those so much. The only reason I'm not awarding Major Crimes the full score is: Rusty. This has nothing to do with the actor, as Graham Patrick Martin is terrific in the role. But too much time is being spent on his character in the later seasons, sometimes to the detriment of the main plot. But Major Crimes is a terrific show, and I was bummed when it was cancelled. There was life in this family of cops for at least another two seasons. I'm currently binging the show on DVD for the third time.

Better Call Saul: Nippy (2022) Season 6, Episode 10

Fluff and Filler Too Late in the Game

[4/10 · 27 July 2022]

I must confess I haven't made it through the whole episode yet: Fell asleep after a few minutes on the first try, and got bored and turned it off around the middle of the episode on the second. I've seen the final scene on YT though.

This episode was a misconception. An innocuous caper episode of Jimmy yearning for his early days would have belonged in one of the first three seasons, but not in the finale with just 3 episodes to go. And if you make a whole b&w Gene episode, better make it count: more power, more consequence. This one was merely inconsequential, made all the worse by following two brilliantly intense ones. I know you lemmings love to rationalize so long as to make each and every episode appear a true gem, but this wasn't one.

Yeh, Saul is moaning for his glory days, so he looks at fancy shirts and puts them back because he realizes they're over. Booohoooo, big deal! All fluff and filler.

And that they had to recast Jeff because they couldn't get him out of other commitments must have felt like a huge defeat to Gilligan and Gould. And it is. In fact, it's inexcusable. With a smarter shooting schedule they could have avoided this. One more reason why this episode was a bust.

The Mystery of Marilyn Monroe: The Unheard Tapes (2022)

Not Bad, Not Great!

[7/10 · 2 May 2022]

This documentary, based on the interview tapes and memories of a British investigative journalist, does not cover much new ground, but if anything, it corroborates the widely held opinion that she died of an accidental or deliberate overdose on sleeping pills, and that there was no real criminal activity involved. There has been so much hush-hush about her death I don't think we will ever get to know the complete truth. The film documents much of her life, from her childhood and arrival in Hollywood, while spending more than one third on the events of her final days. Few of the interviews are truly enlightening, and the structure (listening to the tapes the journalist recorded) becomes grating and monotonous after a while. Having actors impersonate the interviewees doesn't do much to relieve us of the monotony. Some excerpts are interesting and fresh, but not enough of them contain anything revelatory or even intriguing. So-so documentary for newbies on MM's life and death.

Midnight Ride (1990)

Mark Hamill stands out in grungy little Cannon Group thriller

[7/10 · 21 August 2021]

I watched this movie the first time about 25 years ago on the telly late at night, and then again recently, and again late at night on the telly. Mark Hamill is eerily effective, cast against type as a psychopathic killer, he's so intense - it's obvious he relished the chance to play such a character, even if it was just in a lower-berth Cannon Group thriller. He's easily the best thing in this grungy little outing, clearly shot on a shoestring and very quickly. Still, the atmosphere is eerie, and it's a tightly told story. No real artistic pretensions (after all, it's a Michael Dudikoff vehicle!), just an in-your-face thriller.

Sex Drive (1985)

Light-Hearted Sex Comedy, Bright and Breezy!

[8/10 · 18 August 2021]

One of Chuck Vincent's lesser known films, SEX DRIVE is a lively, breezy sex comedy set in and around a low class diner. It's a compact film even by XXX standards, and all the better for it. Plot barely gets in the way, but Vincent still manages deft strokes in his portrayal of small town America, with Taija Rae and Sheri St. Clair being the brightest spots in the ensemble. Rae was still on her way to becoming one of the most popular girls in porn in the latter half of the 1980s. She's all naturally curvy here, she lost some weight later on. St. Claire was never such a big star, but she still knew how to turn up the heat, often while playing more sophisticated characters. This might not be one of Vincent's very best films, but it's extremely likeable and very entertaining. Unfortunately, the DVD is substandard, this film would clearly benefit from a HD remastering (especially since much of the action takes place at night).

Roommates (1982)

Chuck Vincent's Finest Film: Earnest Drama, Depressing as Porn

[8/10 · 18 August 2021]

Be warned if you're going to watch this film thinking it's just by the numbers hardcore. It isn't! "Roommates" is an earnest drama about three women with relationship issues who are trying to cope with the vagaries of life in NYC. Yes, it does include various sex scenes, but they're not terribly arousing (nor are they intended to be), and you will find most of the film to be quite depressing. But it's an intriguing glimpse into what could have been (i.e. Regular drama films *with* xxx-rated scenes), and what could have become of Chuck Vincent had he lived longer and be given proper budgets. All three lead actresses are excellent, but Veronica Hart's performance shines brightest. Jamie Gillis, who was quite a character in films and in real life, is very effective in a supporting role. This is one of Chuck's films that is BEGGING for a Bluray release.

Voyeur (1985)

One of Chuck's Finest

[8/10 · 6 July 2021]

Chuck Vincent was one of the best American directors in adult movies in the 1970s and 1980s, before his untimely death from AIDS. VOYEUR is a characteristic entry: a concise, quickly paced, suspenseful plot, punctuated by short but steamy sex scenes. The acting is also above average. Sheri St. Clair and Taija Rae have always been firm favourites of mine, and their scenes play out nicely. Photographed by Vincent's long-time collaborator Larry Revene.

If Looks Could Kill (1986)

Chuck's hardcore version was better!

[5/10 · 6 July 2021]

This is Chuck Vincent's soft core remake of his rather remarkable adult XXX thriller "Voyeur" of 1985. The original version was better: More concise, more suspenseful, and the sex action was quick and memorable. Why Vincent felt the need to make a watered-down soft core version of it we'll never know.

I Care a Lot (2020)

Poor film that fails as satire AND thriller

[3/10 · 10 March 2021]

I Care a Lot cannot make up its mind whether it is a satire on the exploitation of the elderly or a thriller. And in doing so, it fails at both. Horribly. First of all, the suspension of disbelief required reaches a level at which it's not even funny. It's just sad. The American legal system doesn't work the way described, and while senior citizens are being exploited, the process isn't quite that simple. So the satire fails. Also, Rosamund Pike's character is so repulsive, are we supposed to root for her as she goes head to head with Dinklage's mob boss? No way. So the thriller aspect fails, too. The movie is a hot mess, with no irony, badly paced. The ending is just preposterous, too. Skip it, don't waste two hours of your life.

Bullet Head (2017)

Why "Bullet Head"? - You'll never find out.

[6/10 · 7 April 2020]

Bullet Head: The final film of the night is the most intriguing of them. Independent director Paul Solent weaves a tale about a fighting dog (a mastiff, if you must know) who escapes his annihilation and roams free inside a vast, derelict warehouse. Little do three thieves (Adrien Brody, John Malkovich, Rory Culkin), who are seeking shelter in the building after a botched robbery, know what the store has got in store for them. But they'll soon find out. This low-budget thriller is as much about the back-stories of the three main characters (thankfully, the most annoying one is killed off early) as much as it is about the dog's perspective in the hunt for human prey - and the wrongfulness of dog fighting in general. And Antonio Banderas is in this one, too, if briefly. One critic called it "Tarantino Meets Jaws". The weird mix doesn't quite work, and the film moves in fits and starts, but the characters are interesting and the director's perspective is indeed quite original. Brody and, especially, Malkovich are doing very well here. **.5/4

Acts of Vengeance (2017)

Death Wish - With even LESS Dialogue!

[5/10 · 7 April 2020]

"Acts of Vengeance" is a vigilante film along the lines of "Death Wish", but with a twist that nobody asked for and that becomes ludicrous after a while: the protagonist, Antonio Banderas, is a fast-talking lawyer whose wife and daughter are brutally murdered. The police have no clue, so he has to leave his posh life behind and go on a rampage. Sounds familiar? But get this: He makes a vow not to speak again until his mission has been accomplished. So Banderas has no dialogue after about 25 minutes of the movie. Which leads to some very forced and occasionally unintentionally funny "exchanges" with people (Paz Vega, love interest - so to, errr, speak) he meets along the way. The rest of the plot plods along predictably, with an outburst of violence here and there. The sole distinguishing factor here is Banderas, who turns in a surprisingly powerful performance. And he certainly knows how to kick ass! **/4.

Cleaner (2007)

Watch this for Samuel L. Jackson!

[7/10 · 7 April 2020]

"Cleaner" is a one-man show, with Samuel L. Jackson (great, but when isn't he ever?) as a retired cop who's now running a small company that specializes in cleaning up crime scenes - a dirty job, and we get to see it. One day, he cleans up the mess left by a rich man's murder - contracted by the police department ... or so he thinks! Of course, pretty soon he becomes a suspect himself, and he needs the help of the dead man's pretty wife (Eva Mendes) and his former partner (Ed Harris) to find the real culprit. Police corruption is also involved - naturally. The tired and predictable plot is boosted by some florid directorial touches (from Renny "Die Hard 2" Harlin), but there are few surprises and you can see the final plot twist coming from at least half a mile away. But Jackson is excellent, and so is Harris. If you like police/forensics procedurals, you won't be bored. **.5/4.

The Lonely Man (1957)

Tense, Character-Driven Western with an Impressive Jack Palance

[7/10 · 24 September 2019]

THE LONELY MAN, made in 1957, stars a forceful Jack Palance as a gunfighter who wishes to "retire", settle down, and make amends with his son, played by Anthony Perkins in the same type of nervous nelly role that would make him famous in "Psycho" three years later. So, in the proud tradition of Henry King's classic "The Gunfighter" and others. From a script by Harry Essex ("Creature from the Black Lagoon"), and capably directed by Henry Levin, who had much impressed me with his Glenn Ford vehicle "The Man from Colorado" all these years ago. Fantastic b/w photography by Lionel Lindon; excellent, sensitive score by (Nathan) Van Cleave. While not terribly original, this leisurely paced, character-driven drama is worth seeking out.

Run for Cover (1955)

Decent, Conventional Western with James Cagney Near His Best

[7/10 · 24 September 2019]

RUN FOR COVER, starring James Cagney, was directed by Nicholas Ray the same year he made "Rebel without a Cause". Some typical Ray motifs are present (surrogate father->son relationship, unrest caused by social injustice and prejudice, mob mentality), but it's more conventional than e.g. "Johnny Guitar". Still, it's well-paced, well-acted, even by John Derek, and very well photographed (by Daniel Fapp) - with an agreeable, typically Steiner-esque score by Howard Jackson. Certainly worth a look.

First Kill (2017)

Decent Thriller, Willis Only Half-Asleep

[6/10 · 1 September 2019]

For a Bruce Willis paycheck movie, this modest thriller isn't half bad. Willis himself is half-asleep throughout, and, as in the same director's "Marauders", he's outclassed by the more animated second lead, in this case Hayden Christensen. Yes, Christensen upstages Willis, and he's throughly believable as a young businessman who wants to teach his initially wimpy son how to be a man. The plot (Christensen takes his son on a deer hunt, then witnesses an attempted murder, complications follow) has its fair share of holes, but is generally compelling and twisty, even if you can predict the final twist a mile away. And that's entirely Willis' fault - his acting, his mannerisms are just too revealing. The camerawork and editing have a nice fluidity, and there are many visually appealing scenes, partly due to the forest setting. The actions scenes are well handled, too. Miller knows how to stage chases and gunfire. There's some dopey dialogue, and with one exception, the side characters remain anonymous and underdeveloped. Christensen delivers a solid performance, and Gethin Anthony shines in the role of a sympathetic bank robber (we don't get to see the actual heist). Some of the plot twists are a bit farfetched, but they'll keep you watching. Overall, a step up for the prolific Steven C. Miller, even though Willis is asleep through some of it.

Too Old to Die Young: Volume 9: The Empress (2019) Season 1, Episode 9

One Robot Down, Two Remain. The Slow Dirge Towards Irrelevance

[4/10 · 24 July 2019]

TOTDY is a pretentious, self-indulgent, narcissistic,navel-gazing, misogynistic, slow-moving mess that does look great but offers nothing in the way of plot, character development, nuance, real tension or, indeed, meaning. It's what happens when a studio (Amazon Prime) just hands out money to a self-professed auteur without any restrictions. So far, so bad.

For one reason or another, Miles Teller is still listed in the IMDB credits for this episode. Could it be to keep the suspense? If so, shame that director Nicholas Winding Refn doesn't care about suspense. Or tension. Or character development. Or narrative. Or nuance. Pretentiousness and tastelessness reach a new nadir in this episode, as a comic book-style massacre is accompanied by the strains of Richard Wagner. How original! How surprising! How culturally relevant! Except, it's not. In fact it's the contrary: It's obvious, vulgar, predictable, old-hat - and thus, self-defeating. The dialogue is as flat as a flat tire - during the better scenes. In others, it's howlingly preposterous and dumb. Refn is certainly no native speaker of English. Also, we get to see more of Diana, the high priestess of boredom and irrelevance. Big mistake to show more of her, as she never says anything interesting, does anything interesting, or in any way add meaningfully to the plot, such as it is. It's now Jaritza's and Jésus' show, but actually it's only Jaritza's - because Jésus is such a dull character. You'll be praying to a God, even if you don't believe in any of them, that Jésus gets knocked out cold. One can only hope, but .....

Which leads into the ultimate insult, Episode 10: A vermicular appendix of an ending; as useless, pointless, dumb and empty a finale as you've ever seen in the history of television. Have fun.

Too Old to Die Young: Volume 8: The Hanged Man (2019) Season 1, Episode 8

More Violence, More Pretentiousness, More Narcissism, Even Less Meaning

[4/10 · 24 July 2019]

TOTDY is a pretentious, self-indulgent, narcissistic,navel-gazing, misogynistic, slow-moving mess that does look great but offers nothing in the way of plot, character development, nuance, real tension or, indeed, meaning. It's what happens when a studio (Amazon Prime) just hands out money to a self-professed auteur without any restrictions. So far, so bad.

From this point on, TOTDY is just plodding down its tedious path without variation of tone, and no real twists. Some people felt the need to compare this show to BREAKING BAD. This is NOTHING like Breaking Bad. BB offered continuous twists and turns, shocking plot and character development, meaningful dialogue and standout performances. Instead, all TOTDY delivers is robotic acting by all the leads - no emails from Sir Anthony Hopkins, sorry!, tone-deaf dialogue (delivered robotically, too), no twists, no development, no nuance, nothing but pretty visuals and a bleak, albeit inert tone. And it's getting progressively worse, especially since *all* of the more colorful supporting characters are beginning get the axe, leaving behind only empty faces. Fans of meaningless violence can again rejoice though.

You've made it to this point, so don't give up. Are the two remaining episodes better than this ponderous drone? No, they're worse. As far as the final episode is concerned, *much* worse. But if you give up now you will just have wasted about ten hours of your life with no pay-off. Does TOTDY *offer* any pay-off? You can guess ...

Too Old to Die Young: Volume 7: The Magician (2019) Season 1, Episode 7

The Inevitable Downward Slope

[5/10 · 24 July 2019]

TOTDY is a pretentious, self-indulgent, narcissistic,navel-gazing, misogynistic, slow-moving mess that does look great but offers nothing in the way of plot, character development, nuance, real tension or, indeed, meaning. It's what happens when a studio (Amazon Prime) just hands out money to a self-professed auteur without any restrictions. So far, so bad.

After three relatively potent episodes, the rot is inevitably setting in. Not because Episode 7 is noticeably worse than the the one before, it just all become stultifying and, oh so repetitive. Refn has run out of visual ideas. That's a shame, as the plot is actually thickening - or at least it should be. From this point on TOTDY is just a monochromatic, dreary, ponderous drone. Fans of screen violence can rejoice, as the show is getting more brutal. That doesn't make it any more suspenseful, and again there's barely a real human character anywhere to be seen. The gang war between the Mexican cartel and the homegrown black gang lead by Babs Olusanmokun intensifies, and yet, Refn somehow manages to drain all of the potential suspense. Again, there are no twists here, TOTDY has now become a monotonous, depressing, slow-moving dirge of a show. But Refn clearly relishes violence for its own sake. Which is a good thing, kind of. Shows he doesn't just relish pretentiousness, narcissism, and lobotomized pacing for their own sake.

Alas, by this episode we're again starting to loose some of the more colorful characters - leaving behind the robotic Martin, Jésus and Jaritza.

Too Old to Die Young: Volume 6: The High Priestess (2019) Season 1, Episode 6

Last of Three "Better" Episodes

[6/10 · 24 July 2019]

TOTDY is a pretentious, self-indulgent, narcissistic,navel-gazing, misogynistic, slow-moving mess that does look great but offers nothing in the way of plot, character development, nuance, real tension or, indeed, meaning. It's what happens when a studio (Amazon Prime) just hands out money to a self-professed auteur without any restrictions. So far, so bad.

In this, the last of the three stronger, arguably more meaningful episodes of TOTDY, the attention again shifts to our less-than-lovable Cartel boy, Jésus, and his return to LA, accompanied by his wife, Yaritza (Cristina Rodlo), aka, "the "High Priestess of Death". That is how she calls herself, and if you think that it's stupid and unintentionally funny, that's because it *is*. But, as pointed out before, we're not dealing with real human beings and their behaviour in TOTDY. They're just puppets in the Nicholas Winding Refn universe.

However, this episode has some rather powerful moments (they, like all the other, weaker moments, are again drawn out ad nauseam), as well as an all-too-brief, but funny cameo by Morgan Fairchild. The episode is also important because it finally ties the two main story lines, that of Martin, and that of Jésus, closer together. The conflict between the two will reach a crisis point, as well as a resolution, in the very next episode.

Too Old to Die Young: Volume 5: The Fool (2019) Season 1, Episode 5

The Best Episode of TOTDY: Almost Not Boring!

[6/10 · 21 July 2019]

TOTDY is a pretentious, self-indulgent, narcissistic,navel-gazing, misogynistic, slow-moving mess that does look great but offers nothing in the way of plot, character development, nuance, real tension or, indeed, meaning. It's what happens when a studio (Amazon Prime) just hands out money to a self-professed auteur without any restrictions. So far, so bad.

Episode 5: You're still here? Well, if you are (Chances are slim, I know), THIS is the best episode of TOTDY. While all the familiar pretentious trappings are firmly in place, there's even some kind of plot here. Sort of. Also, the funniest scene in the entire show (which involves Barry Manilow's Mandy - you'll understand once you've seen it) lies ahead, and you even get to see a decent stretch of plot that wasn't show in monochrome bore-o-vision. It's scant compensation for wasting 13 hours of time you'll never get back. I know. But it's SOMETHING.

There's something hilariously ironic about an extended car chase scene that dominates the latter half of this episode. You'll laugh out loud. Trust me.

Too Old to Die Young: Volume 4: The Tower (2019) Season 1, Episode 4

The First of Three Stronger Episodes: Marginally Less Boring!

[5/10 · 21 July 2019]

TOTDY is a pretentious, self-indulgent, narcissistic,navel-gazing, misogynistic, slow-moving mess that does look great but offers nothing in the way of plot, character development, nuance, real tension or, indeed, meaning. It's what happens when a studio (Amazon Prime) just hands out money to a self-professed auteur without any restrictions. So far, so bad.

Episode 4 is the first of the series' three strongest entries. Relatively speaking, of course. There's a reason why Nicholas Winding Refn only showed episodes 4 & 5 at the Cannes Film Festival: They're the least-worst paced, the least mind-numbingly repetitive, the least plotless, and the least excruciatingly pretentious. They could almost be considered entertaining. Almost.

Again, it's up to the character actors to divert you from the roboticism of the leads (the latter instructed to act that way our brilliant director). Babs Olusanmokun maintains a strong screen presence as the dark (literally and figuratively) overlord, and William Baldwin gives the best performance as Janey's maybe-not-quite-so-protective dad. William Baldwin. You read that correctly. He gives the best performance. Do you remember William Baldwin ever having given the best performance in ANYthing? No? Me neither. But he does here. Which should give you a hint as to the quality of the rest of the performances. But it's Refn who's at fault here. He obviously has no feel for English dialogue, nor any idea how to coach actors.

Anyway, if you've made it this far, there are two of the better episodes ahead. It's not saying much, I know.

Too Old to Die Young: Volume 3: The Hermit (2019) Season 1, Episode 3

Martin's Vigilante Motivation: Such as it is!

[5/10 · 21 July 2019]

TOTDY is a pretentious, self-indulgent, narcissistic,navel-gazing, misogynistic, slow-moving mess that does look great but offers nothing in the way of plot, character development, nuance, real tension or, indeed, meaning. It's what happens when a studio (Amazon Prime) just hands out money to a self-professed auteur without any restrictions. So far, so bad.

In Episode 3, things get more complex and more interesting. Well, they could barely have gotten less interesting. The pacing is marginally less somnambulist, there's even a smidgen of character development and motivation. Not a lot. Just a smidgen. We get to know how and why (why seems like too strong a term though) our central character Martin becomes a vigilante. Other than that, it's the same rot of symbolism without meaning, robotic acting, pretty but ever-so-repetitive photography, scenes being stretched out ad nauseam - and beyond, lines no human being would ever utter, and infrequent and pretty boring violence. It's all rot, me boy.

If you've made it to this point though, don't give up. The next three episodes are the best of TOTDY.

Too Old to Die Young: Volume 2: The Lovers (2019) Season 1, Episode 2

The Mexican Cartel Perspective: Just as Slow, Midly More Interesting

[3/10 · 21 July 2019]

TOTDY is a pretentious, self-indulgent, narcissistic,navel-gazing, misogynistic, slow-moving mess that does look great but offers nothing in the way of plot, character development, nuance, real tension or, indeed, meaning. It's what happens when a studio (Amazon Prime) just hands out money to a self-professed auteur without any restrictions. So far, so bad.

Episode 2 shifts the focus from Miles Teller's stone-faced Martin to Augusto Aguilera's equally stone-faced Jésus. The pacing becomes even more ponderous (if that's conceivable) and slow, with even more of those pointless panning shots that don't reveal anything at all. On the upside, character actors Emiliano Díez (as the cartel patriarch) and Sal Lopez (as the corrupt Captain Cortez) refuse to act robotically and deliver nuanced performances, stealing every scene they're in. Apart from that, it's the same muted colours throughout, the same lobotomized pacing, the same meaningless interaction between the characters, the same narcicistic navel-gazing by Refn. In fact, it's even slower than the first episode.

Too Old to Die Young: Volume 1: The Devil (2019) Season 1, Episode 1

Chapter 1 of the Slowest-Moving Crime Drama in the History of Everything

[3/10 · 21 July 2019]

TOTDY is a pretentious, self-indulgent, narcissistic,navel-gazing, misogynistic, slow-moving mess that does look great but offers nothing in the way of plot, character development, nuance, real tension or, indeed, meaning. It's what happens when a studio (Amazon Prime) just hands out money to a self-professed auteur without any restrictions. So far, so bad.

Episode 1 very much sets the tone: After an arresting opening scene, nothing happens for a long time. A very long time. A very, very long time. 90% of viewers I think will have given up after the first 40 minutes or so, realizing that you're being treated to: endless pan shots that won't reveal anything; dialogue without meaning that leads to nothing; robotic lead actors being robotic; two hundred million of the same neon-lit shots; a skull exploding every thirty minutes or so from bullet impact - for one reason or another, or none at all; a director who's navel-gazing 100% of the time.

If you want to proceed, be aware that the pace will only pick up by Episode 4, and only a bit. The series has the same note and tone, its one and only note and tone, for the following 11.5 hours. So, proceed at your own risk.

Basic message: NEVER EVER give Nicholas Winding Refn free reign EVER AGAIN. AGAIN; EVER!