The Neon Demon: Movie Review

As I exited of the screening for Nicolas Winding Refn’s, “The Neon Demon”, all I could think about was what the hell am I going to write?  I could not think of words to describe the cinematic experience. Although visually striking, “The Neon Demon” is a truly awful film. Someone asked me if I consider it more like “Drive” or “Only God Forgives”.  The latter, most definitely.  I hated “OGF” just as much as “The Neon Demon”. so if you are a fan of that film, you might have a totally different feeling about this one than me.

Jesse (Elle Fanning) is an aspiring model who just moved to Los Angeles. Although she is underage, she is living by herself in a motel out in the valley, run by a super creep (Keanu Reeves). Jesse has signed with a major modeling agency (faking the signature on a parental consent form) and things move pretty quickly for her. The most sought-after photographer (Desmond Harrington) wants to shoot Jesse and a major fashion designer (Alessandro Nivola), picks her to be the star of his runway show. The more experienced models, Sara (Abbey Lee) and Gigi (Bella Heathcote) are not very happy about the attention Jesse is getting.  However, their friend, Ruby (Jenna Malone) who happens to be a make-up artist, takes a liking to the youthful model.The more attention Jesse gets, the more she realizes that everyone wants to be like her.

I know none of this sounds like an actual horror movie, but it technically is. There are vampires although a very strange form of vampire. Everything about “The Neon Demon” is strange.  Refin is a talented filmmaker, but he seems more concerned with style over story.  Much like summer blockbusters are more concerned with visual effects over story. At least most of those big summer films have some sort of grasp on storytelling, no matter how thin it might be.

As much as I hated “The Neon Demon”, I do have to give cinematographer Natasha Braier, music producer Cliff Martinez and production designer Elliott Hostetter credit for delivering stunning visuals and a fantastic score.

By: Marc Ferman