The Neon Demon


Action / Horror / Thriller

Rotten Tomatoes Critics - Rotten 53%
Rotten Tomatoes Audience - Upright 62%
IMDb Rating 6.2 10 57329


Uploaded By: FREEMAN
Downloaded 54,742 times
September 19, 2016 at 08:15 PM


Jena Malone as Ruby
Keanu Reeves as Hank
Christina Hendricks as Roberta Hoffmann
Elle Fanning as Jesse
720p 1080p
863.7 MB
23.976 fps
1hr 58 min
P/S 8 / 47
1.79 GB
23.976 fps
1hr 58 min
P/S 10 / 57

Movie Reviews

Reviewed by gtylerpayne 8 / 10

Incredible directing and cinematography in this abstract art film

It seems that, after the massive success of Drive, Refn is being given the opportunity to make the films he wants to make and take a lot of creative license.

I think this is a good thing, and it's a smart way to go about a career in any creative industry. Achieve mainstream success doing things that are commercially viable, and when you have people's attention and trust, you can do something more abstract and creative and people will actually go see it with an open mind, and quite possibly love it.

Another example of this is a band like Radiohead, they put out "Creep" which is a perfect radio single, and when that got them famous, they went and made albums that would never have been produced or listened to if they had done them straight away.

This is a cool movie. It's not for everyone. The editing, camera work, framing, pace, screenplay, lighting, production design, wardrobe... all the creative elements of this film have a modern, stylistic feel that seems ahead of it's time. It's the type of movie you may want to tell all your friends is your "favorite" even if it's not, just to make yourself look cool (haha.. sad but true)

The plot is very abstract, and contains a lot of elements of surrealism. Refn reminds me of film-makers like David Lynch or Terry Gilliam or even Salvador Dali. I like that he took a risk and really went with his vision to make a film that could never have mainstream appeal. It is a piece of art, and left open to interpretation. The whole thing may be a dream, or an alternate reality, or some combination of these with real life.

The production design and framing and editing made me feel things and think things and imagine things. It seemed to be trying to take me on a journey through space and time while telling an intoxicating story that was an allusion to the real world.

It helps to be in the right state both mentally and physically for a movie like this. It's the type of movie you want to watch in a very dark room, on a very comfortable couch, with a big screen and a great surround sound system. Then you can prepare to get lost in the film and experience it as a whole, instead of just watching it.

I definitely can't watch movies like this everyday, and while it is a great exercise in expanding your mind, being creative, and thinking abstract thoughts, it may seem boring on the wrong day.

A cool thing about movies like this, is the re-watch-ability of them. Most movies are best the first time you see them, and don't offer much for a repeated viewing. This is the type of movie that can be watched many times. The experience will be different each time and you may notice or realize things you didn't see the first time.

It reminds me of David Lynch and his movie "Mulholland Drive." I really love that movie and it is similar in the way that people love it or hate it. With "Mulholland Drive," I watched it many times, and grew to understand it on my own terms, which was a fun journey.

I do hope that Reft doesn't decide to continue making movies that are always this abstract. Often times, I watch movies with a great plot, that are very entertaining films, but wish the director and cinematographer had been more creative with the lighting and camera work. Seeing his style and eye applied to mainstream blockbusters and thrillers would be really cool in my opinion, but I doubt he will ever go too far into directing movies with a typical "Hollywood" script. After the success of "Mulholland Drive," Lynch continued to make exclusively dreamy, abstract movies, and while I respected that, it just didn't seem necessary.

Go check this movie out with an open mind on a night when you are relaxed and feeling good. Maybe watch it with some friends and have a good conversation afterward sharing thoughts and interpretations; I'm sure they will vary radically. You might love it, and you might hate it, but I think most people will respect the artistry of the film and have trouble forgetting it anytime soon.

Reviewed by Shae Spencer 1 / 10

Don't watch this movie.

I have enjoyed most of the Nicolas Winding Refn films I've seen. I love both Bronson and Drive. I tried to like Only God Forgives, but couldn't. I came into The Neon Demon with neutral expectations. I walked out of the end credits disgusted with myself for not having left sooner.

The Neon Demon is vapid, soulless trash. It is despicable drivel. It is irresponsible. It is made without a sense of accountability to taste or reason. It is a bafflingly inept attempt at surrealism, where caricatures are passed off as characters, and bright, pretty lights and colors as compelling imagery. The potentially interesting (if trite) theme of the moral and emotional emptiness of the modeling industry is presented in a laughably inane way, as if it were a fresh, vital artistic insight.

If Only God Forgives was nudging audience members in the ribs a bit too hard, The Neon Demon kicks us in the groin. Repeatedly.

This is true both in the film's style and content. I'm a firm believer that any subject can be dealt with in a film. There is a line of decency and human concern that is usually difficult to discern, and is obviously highly subjective. Shocking scenes will often polarize viewers, and, usually, there are legitimate points to be made on either side. Neon demon goes miles over that line. There is no defense for a scene where over the course of what I would estimate to be a couple minutes of screen time, a woman molests a female corpse. The audience sees and hears almost everything. I won't go into further detail. Unfortunately, Refn did. If this weren't bad enough, this footage is intercut with an abstract representation of the woman's fantasy about an underage girl who earlier rejected the woman's advances. The girl is 16 in the film, and Elle Fanning was either 16 or 17 at the time of filming.

I don't consider myself a prude when it comes to dark topics in film. As I said, I firmly believe there are tasteful (or at least acceptable) ways to handle any issue through the medium of film. An example of a film which is uncompromising in depicting evil and yet doesn't cross the line is The Silence of the Lambs. However awful the acts of Hannibal or Buffalo Bill are in that movie, the film is made from a place of heart, of empathy for the victims, a place of humaneness. It doesn't revel in the crimes of its villains. We are meant to be sickened by them. When Hannibal clobbers a policeman (nearly?) to death, the director is very selective in what we see, focusing in on Lecter's demonic glee. It's a thrilling, gut wrenching scene. In Neon Demon's necrophilia scene, everything is fair game. A large part of the reason this scene is so reprehensible to me is that it seems almost as if it's meant to be titillating.

I wonder: How would this film have been received if the necrophile were a man molesting a female corpse?

It's disheartening to me that a small minority of people seeing this film actually like it. I can't help but think (and hope?) that they're simply fooling themselves, that their affection for Refn's previous, far superior films is being unduly extended over this one. As with Only God Forgives, perhaps the cinematography is distracting enough for them to forgive its fundamental storytelling flaws.

But even though I found The Neon Demon intermittently nice to look at, and in spite of my adoration for the genius of Drive and Bronson, I hate this film. Even if I was to pretend there was no sickeningly indulgent necrophilia scene, or other lingering, exploitative shots which directly contradict the premise that the film is an indictment of the male gaze, I would still hate this film, simply because it is so bad.

Reviewed by Giancarlo Cairella 8 / 10

Dangerous beauty

I wouldn't really recommend The Neon Demon unconditionally to my friends; not because it's a bad film (quite the opposite) but because it's the kind of movie that would inevitably lead some of them to think "he told me to watch it and said it was great. What kind of freak could possibly like that kind of stuff?"

To call it "not for all tastes" is the understatement of the year, since the majority of audiences probably won't really appreciate its very droll mix of violence, cannibalism, dark comedy, necrophilia and fetishism. In fact, I will be very surprised if there isn't any condemnation or manifestation of outrage from groups or individuals arguing that it's yet another shallow male-directed film that objectifies, stereotypes and vilifies women. I'd also be willing to bet that Nicolas Winding Refn, who, like his fellow countryman Lars Von Trier, has a reputation for being a provocateur par excellence, had exactly this type of reaction in mind when he made it. There is a semi-gratuitous maybe-it's-a-dream sequence where a female character is forced to fellate a knife blade that seems designed precisely to elicit that sort of response.

Deliberate excesses aside, The Neon Demon is possibly Nicolas Winding Refn's most straightforward narrative in a while (certainly more linear than Only God Forgives or Bronson). The film follows Jesse (Elle Fanning), a 16-year-old ingenue who moves to L.A. (or, to be exact, to a seedy motel in Pasadena, run by a sleazy and sinister manager played by a cast-against-type Keanu Reeves) hoping to become a model. Her naïveté and awkwardness notwithstanding, she first catches the eye of a powerful model agency head (Christina Hendrickson), then an influential photographer (Desmond Harrington) and finally a big fashion designer (Alessandro Nivola) who casts her as the centerpiece of his new show, much to the chagrin of established models Sarah (Abby Lee) and Gigi (Bella Heathcote), who don't take kindly to being laid by the wayside to make room for a fresh new face.

She is also befriended by Ruby (Jena Malone), a seemingly well- meaning fashion make-up artist who moonlights at the local mortuary by applying her skills to make cadavers more presentable, and by an impossibly nice young man named Dean (Karl Glusman) who would like to be Jesse's boyfriend and protector. This being a horror film, at least on the surface, things starts to get weird for Jesse when her new friend and rivals decide to do something about her rapid ascent to the rank of top model. To say more would stray into spoiler territory, so I'll stop here.

Like Quentin Tarantino, Nicolas Winding Refn is a master regurgitator of old genre films. "Drive" was the bastard son of Michael Mann's "Thief" and Walter Hill's "Driver", with a few other ingredients tossed in for good measure (the film also owed a huge debt to Jean-Pierre Melville's "Le Samourai"). "The Neon Demon" is his love song to Dario Argento (in particular "Suspiria", which is visually and thematically referenced multiple times) and to countless Euro-thrillers from the seventies, starting with the fantastic but little-seen (in the USA) Belgian lesbian vampire/Countess Bathory retelling "Daughters of Darkness".

Punctuated by a great electronic score by Cliff Martinez (which sounds like the best soundtrack that Goblin never wrote in the last 20 years), The Neon Demon is a visual feast that makes the neon- drenched "Drive" and "Only God Forgives" look almost drab by comparison. This is a gorgeous-looking film, set in beautiful locations, with a cast to match.

The women are all impossibly beautiful and incredibly shallow and repellent at the same time: they look and move like poisonous snakes whose skin you would really like to reach out and caress, knowing full well that you are likely to receive a painful bite. Male characters on the other hand are almost uniformly visually unpleasant and slimy or feral-looking (Desmond Harrington's photographer in particular looks gaunt and menacing like a wolf circling a wounded animal). Only Dean, the prospective boyfriend, seems like a good, decent human being, but this is a movie that seems hell-bent on confirming the old adage that "nice guys finish last".

Elle Fanning is good, especially at the beginning of the film where she is required to look shy and insecure -- in fact there are no weaklings in the whole cast. But the film belongs to Jena Malone, whose character undergoes the most startling transformation as the story progresses. Her performance is truly daring and committed and easily the most memorable in a film filled with weird and eye- catching characters. When you see the film, you'll know what I'm talking about.

Although The Neon Demon is ostensibly a horror film, underneath all the scary movie trappings lies a very black (and bleak) comedy about a superficial world where appearances are everything and the only way to survive is to embrace (quite literally) a dog-eat-dog attitude. It's most definitely not a movie for everyone (and the only film in recent memory where a scene involving an act of lesbian necrophilia doesn't feel gratuitous and out of place), but it's the product of a talented director who has completed a metamorphosis, which began with Bronson (2009), from "simple" genre filmmaker into full- blown auteur, with a personal and distinctive visual and narrative style. If you are at all interested in cinema beyond regular multiplex fare, it's definitely worth investing 2 hours of your time.

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