User Reviews

"Volume 3: The Hermit" is the third episode of Nicolas Winding Refn's (NWR) show, "Too Old to Die Young." Featuring the return of Miles Teller, again playing a prominent role in this episode, "Volume 3" follows the same path that the previous two episodes set up - and what I mean by that is, episode three is just as unpredictable as what came before it.

If there's one thing I respect about NWR's approach to this series thus far, it's that he is trying his damnedest to ensure every episode feels different from one another. I legitimately never know what is going to happen next in this show. "Volume 3" tones down the violence quite a bit, and feels much more mainstream compared to the previous two episodes, while still maintaining that classic Refn flair that you most likely enjoy if you're watching this show.

Yes, there are still slow camera pans, glorious one-shot takes, and moody, atmospheric locals, but more than that, "Volume 3" featured probably the most dialogue in anything Refn has ever made. This episode was very story and character focused, and it was intriguing from beginning to end. There are so many interesting new characters, like the one introduced in Jena Malone, plot points, and different dynamics that I really cannot wait to watch episode four - though I know it will definitely go a completely different route than I expect.

As I mentioned, this episode was quite dialogue heavy, which I was thankful for because of how good the dialogue was. Yes, people respond in between long pauses, and usually talk in short sentences, but that's really an acquired taste at this point. The dialogue may not have been a work of literary genius, but what was more interesting was the characters who were engaged in dialogue, and why they were talking. At one point, two characters have a conversation, and just knowing their backstory makes the scene so much more riveting. It's great stuff, and well worth the two episode build up to get here.

"Volume 3: The Hermit" is the best episode of "Too Old to Die Young" yet. It introduces interesting new characters and plot points that I can't wait to see to completion, as well as demonstrates a surprising level of restraint that allows the episode breathing room, enabling it to focus more fully on its characters and the story it is telling. NWR, well done.

Another good episode. This show is unlike anything, any show, that I've watched. It's like it makes your mind go blank during and after, like you're being hypnotized, in a state of emptiness and tranquillity, and at the same time, you're immersed beyond measure and explanation.

I'm not finding this show enjoyable in a traditional manner, like with other shows: details noticed, details missed. Interest not gained, interest gained, interest lost. You know, that sort of thing. But rather, as if it is this tranquil utopia of everything and nothing.

As more and more plot strings and characters come together, the episode kinda got uninteresting for me at this point. Loved the mood oriented first two episodes a little more but we still got to see some more of that stunning DP work by Darius Khondji. I think I'm starting to see where NWR is getting at, the satire became a little clearer here.

The plot thickens as we are introduced to two new characters, a solemn hitman and a spiritual healer. the tethers that bind them may surprise you. to keep existing plots moving, Martin becomes a detective and his first case is to find the killer of a pedophile. these three characters converge and you may find the results rather unexpected.

in following the case, Martin is told by one of the suspects that "people aren't who you think they are" and insinuates that people have a side of themselves that they hide away. The camera focuses on Martin through this as the music swells, telling us that this dichotomy of personality is something he knows all too well.

this sets the stage for Martin's behavior throughout the episode. he tries to reckon with this battle of selves but he's unsure of himself. without spoiling anything, this episode ends with Martin feeling comfortable enough to confide in another character and it gives us fantastic insight into someone who rarely speaks their mind. he is clearly cautious about letting his guard down and goes through extensive measures to ensure he's found the right person to confide in.

while not quite as exhilarating as the previous two episodes, this episode not only expands the world in interesting ways but it helps us solidify our footing in the mystery a bit more in regards to just what kind of person Martin is.

John Hawkes and Jena Malone make fantastic additions to the cast, especially Malone who always seems to bring so much to each role she takes on.

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.