THE BOYS: SEASON FOUR Starring: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Laz Alonso, Jessie T. Usher, Tomer Capone, Karen Fukahara, Chace Crawford, Claudia Doumit, Nathan Mitchell, Cameron Crovetti, Susan Heyward, Valorie Curry, Colby Minifie, and Jeffrey Dean Morgan Creator: Eric Kripke AMARÚ The first few episodes of The Boys : Season Four lulls you into a sense of normalcy. The episodes move forward with new characters and continuing storylines, but nothing really feels astounding. However, just like the outstandingly nuanced and calculated Sister Sage, played by new series powerhouse Susan Heyward, they are slowly setting pieces on the table to knock you on your ass. Navigating full political commentary without sacrificing any bit of intelligent storytelling, Season Four is the best acted of the series, and it sets up a doozy of a fifth and final season for this modern TV masterpiece. NICK Season Four of The Boys feels like the calm before the storm that will be the final season. That's not to say it's boring, but it's a lot of setup only to scramble everything together in the finale. There are clear highlights (A-Train's (Jessie T. Usher) and Butcher’s (Karl Urban) storylines), but there are other parts that don't quite hit (I struggled to care about Hughie (Jack Quaid) and Annie (Erin Moriarty), and the Gen V connection happens too late). I think creator Eric Kripke is ending things at the right time because I'm starting to see a world where things run out of steam. QUENTIN I think it’s a blessing that The Boys will end with next season. It’s not that Season Four is bad at all; in fact, it’s quite good. It boasts the same violent carnage, dark humor, gory subversiveness, and worthwhile character development that has successfully driven this show to this point. That said, the political satire is getting to be a little too on the nose, and there is some subtle wheel-spinning that feels like light filler at times. All in all, though? Those are minor complaints, and I’m amped for an explosive final go-round that (hopefully) sees the show go out on top. PAIGE For me, The Boys : Season Four is full of highs and lows. On one hand, it lacks story advancement due to unnecessary subplots, which makes the pacing feel a bit off. On the other hand, the superhero series' trademark bloody violence and diabolical what-the-fuck moments are still prominent throughout, keeping it an entertaining watch. However, what really sticks out this season is the commentary on today’s politics and real-world events that ring true in our society. Overall, this season just seemed to be a slow build-up to the insane mayhem that will ensue in the show's final season. ADRIANO The Boys : Season Four is a step down from the beasts of the previous seasons, but it's still an invigorating television season, nonetheless. While some of its shock moments sometimes felt purposeless this time around, and there was maybe too much going on, the show's insanity mixed with its grounded character work and commentary on the current political state is still in full force. The cast is still excellent (Antony Starr is MVP again, but shoutout to Jessie T. Usher), and there were moments when I was genuinely scared, especially with the bleak ending, getting me shaken for what's to come. SHADAN This season of The Boys is the weakest of the four because it’s overstuffed and meandering. I found myself less invested in what is clearly a transitional season before the finale. Still, I had a blast with the shock and awe of it all. The signature style, violence, and gore are plentiful as always, and it kept me engaged enough to anticipate the next surprise. Karl Urban and Antony Starr remain the MVPs of one of the strongest and most underappreciated ensembles on TV, and even when not in top form, you could do much worse than spending time with The Boys. KATIE Although this season of The Boys lacks the momentum and meticulous storytelling of previous seasons, it still manages to showcase bloody, shocking, morbidly funny, carnage-fueled entertainment. Despite its flaws, this season is the tensest yet, with moments that had me fearing for my favourite characters and terrified for what would happen next, which is only exacerbated by the timely political commentary. Plus, the entire cast is incredible, in particular Antony Starr’s phenomenally unnerving performance as Homelander. With this solid setup, I’m looking forward to all this character development and attention to subplots paying off next season.

SAUSAGE PARTY: FOODTOPIA: SEASON TWO Starring: Seth Rogen, Will Forte, Edward Norton, Michael Cera, Jillian Bell, Andre Braugher, Marion Cotillard, Patti Harrison, Ruth Negga, Sam Richardson, Martin Starr, and David Krumholtz Creators: Seth Rogen, Evan Goldberg, Kyle Hunter, and Ariel Shaffir QUENTIN In its second season, Foodtopia interestingly (thankfully?) dials back the over-the-top raunch and leans into the food puns. It also shifts from the hyper-focused satire on religion and politics to deliver a broader message about morality and co-existence, all while effectively expanding the dystopian food-driven world, character development, and serialized storytelling. Admittedly, not all the jokes land (a Will Smith-slap joke in 2025?), but the sheer volume of clever one-liners and deep movie references scattered throughout the eight breezy episodes make the duds forgivable. Foodtopia has become more than just a diversion, and if it keeps featuring puns like Francis Ford Capicola, I’ll keep coming back. Check out our reviews for Season One HERE .

DARK SIDE OF THE RING: SEASON SIX Starring: Chris Jericho Creators: Evan Husney and Jason Eisener NICK After last season of Dark Side of the Ring took a bit of a dip, this one comes back with a vengeance. From watching the effects the infamous Hell in a Cell match had on Mick Foley and his family to the heartbreaking life story of Daffney, from the utter insanity of Billy Jack Haynes to the despicable tale of Ludwig Borga…this season covers all sides of darkness. As per usual, the interview subjects are terrific and the research is incredibly detailed. It seems last season was an outlier because there are clearly more stories to tell, so let’s bring on another round. Check out our reviews for Season Five HERE .

THE WALKING DEAD: DARYL DIXON: SEASON TWO Starring: Norman Reedus, Melissa McBride, Louis Puech Scigliuzzi, Romain Levi, Clémence Poésy, Eriq Ebouaney, Joel de la Fuente, Laïka Blanc-Francard, Anne Charrier, and Manish Dayal Creator: David Zabel NICK After a surprising premiere season, The Walking Dead: Daryl Dixon takes a step back with Season Two, The Book of Carol . Although the reunion of Daryl and Carol (Norman Reedus and Melissa McBride, respectively) is a welcome one, the story to get to that point (and beyond) is Fear the Walking Dead levels of ridiculous. Instead of integrating Carol into the existing story, much of what made Season One work so well is abandoned to create a watered down version of The Walking Dead - exactly what I was worried these spin-offs could become. Let’s hope this was a sophomore slump and Season Three can rise from the dead.

Previous Next With this month boasting Dune: Part Two, which is one of the biggest sci-fi films in some time, we figured what better time to go over some of our other sci-fi favourites? So, the Bitesize crew has once again put their brains together to compile Bitesize Breakdown's consensus Top Five Sci-Fi Adaptations. For this list, we are only focusing on films or series adapted from novels, comics, video games, etc. Not remakes from earlier versions of the film. Each writer ranks his or her top 15 releases in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. THE THING (1982) The Thing (1982) isn’t just an amazing sci-fi adaptation, it’s one of the greatest films ever made. Director John Carpenter has had plenty of hits, but his take on John W. Campbell Jr.’s (pen name Don A. Stuart) novella “Who Goes There?” is my personal favourite. This chilling cosmic horror is a masterclass in suspense, blending a meticulously paced narrative with some of the most impressive practical effects of all time. As an incomprehensible amalgamation of human bodies, raw flesh, and otherworldly tendrils, the titular “Thing” possibly is the most horrific alien ever put to screen. Its iconic ability to mimic human beings results in a nail-biter of a film where you can never be too sure of who to trust. With an amazing script, jaw-dropping visuals, and an awesome performance from Kurt Russell, The Thing certainly deserves its spot on our list. - Caleb 4. CHILDREN OF MEN Children of Men is the kind of sci-fi thriller that one yearns for. Before he was ever an Oscar winner, director Alfonso Cuarón crafted this film with such an incredible nuance that it seeps into every frame of this, at times, painful-to-watch dystopian flick. Its action is quite incredible, thankfully, but where Children of Men shines is in its admittedly dense but truly breathtaking storytelling, whose grim nature makes way for something poignant. The final 30 or so minutes of this film are more than enough to earn a slot on this list, but the entire film is a remarkable accomplishment in its own right. - Adriano 3. 2001: A SPACE ODDESSY This list wouldn’t be complete without Stanley Kubrick's 2001: A Space Odyssey . Adapted from the 1948 short story "The Sentinel" by Arthur C. Clark, this 1968 film and its corresponding novel counterpart were written concurrently. The film’s astonishing screenplay, written by Kubrick and Clark, and its breathtaking visuals make this epic truly one of a kind and, honestly, probably the greatest sci-fi film to ever grace the silver screen, especially considering it continues to influence countless sci-fi stories to this day. The fact that this masterpiece manages to address several extremely thought-provoking subjects, including existentialism, human evolution, technology, artificial intelligence (I'm talking about you, HAL), and the potential for extraterrestrial life, is truly mind blowing. - Paige 2. ARRIVAL Based on Ted Chiang's novella “Story of Your Life,” Denis Villeneuve's Academy Award-winning sci-fi drama Arrival is both my favourite film of his and one of my top sci-fi films of all time. It's thoughtful and restrained, with a poetic narrative and an emotional, character-driven story. Although it has plenty of spaceships, aliens, and angry American soldiers, it uses these elements to explore powerful themes of grief, memory, and language, as well as examining the enduring nature of love and human bonds. It also doesn’t over- or under-emphasise its complicated linguistic concepts, keeping them accessible and making them genuinely interesting, which could only be achieved with Amy Adams’ incredible and deeply affecting performance. Plus, with exceptional visuals and a stunning score, Arrival has it all. - Katie 1. JURASSIC PARK Whether you consider it sci-fi, horror, thriller, or action-adventure, Jurassic Park remains one of the greatest movies of all time, full stop. In becoming the highest-grossing movie of all time upon release, as well as its universal acclaim, its blockbuster bonafides are beyond reproach. However, it’s the groundbreaking special effects that still hold up today that, in 2005, led Film Review magazine to name it one of the five most important movies since 1950. With a tremendous ensemble cast, a terrific story, pulse-pounding thrills, and iconic imagery galore, Jurassic Park , adapted from Michael Crichton’s novel of the same name, remains the pinnacle for all adaptations, sci-fi or otherwise. Its legacy has endured for more than 30 years despite five (and counting) mostly-not-great-but-often-terrible sequels. - Quentin HONORABLE MENTIONS THE MARTIAN DUNE (2021) DAWN OF THE PLANET OF THE APES TOTAL RECALL (1990) MINORITY REPORT Photo Credits: Photo 1, 2, 5 - Universal Pictures; Photo 3 - MGM Studios; Photo 4 - Paramount Pictures

SPIDER-NOIR Starring: Nicolas Cage, Lamorne Morris, Li Jun Li, Brendan Gleeson, Karen Rodriguez, Jack Huston, Abraham Popoola, Lukas Haas, Cary Christopher, Andrew Lewis Caldwell, and Michael Kostroff Creator: Oren Uziel AMARÚ Both the black and white and true color versions of Spider-Noir are absolutely gorgeous, but just like Nicolas Cage and noir, black and white just feels right. The season takes some time to set up its characters and story, but it’s worth it to get invested in the crime mystery that perfectly blends Spider-Man lore with the 1930s backdrop. There’s tons of heart, humor, and high-stakes action, all backed by a top-tier ensemble. Cage, of course, shines in the role, but every cast member matches his star-power, especially show stealer Andrew Lewis Caldwell. The Spider-Verse universe is still undefeated. QUENTIN A bold swing for superhero shows, Spider-Noir almost isn’t a superhero show at all. Sure, the main tropes are there, but they mostly take a backseat to the gorgeously shot, hardboiled detective story that conjures memories of James Cagney and Alfred Hitchcock. Nic Cage once again validates my unwavering support for his inspired acting choices by delivering a performance that is equally funny and tragic, capturing Spidey’s famously wisecracking vibe through era-appropriate colloquialisms and moments of noir-driven self-reflection. Admittedly, the story drags slightly in the middle, but you’ll be so intoxicated by the atmosphere that you’ll barely notice, especially with the superior black and white version. NICK Adapting the story of Spider-Man into a jaded private investigator from the 1930s is a "swing" I never knew I needed until Spider-Noir . It even goes so far as to offer up the choice between vibrant colour and black and white - although the story is better suited for the latter. You also have Nicolas Cage playing the aforementioned P.I., and he's tremendous. As Ben Reilly, he has the opportunity to act in his sweet spot. He's funny, sarcastic, manic, and a little weird. The series can be a touch too slow-moving (a by-product of the genre), but the cast keeps things entertaining throughout. ROBERT Spider-Man is a property that always garners interest, even when it skews bad or seems oversaturated. In 2026, our first of four adaptations is Spider-Noir , which brings Nic Cage to the small-screen for the first time. Truthfully, this is the only logical aesthetic for Cage to play in, especially as a student and lover of old films. The show itself has small stakes but big ideas, and those concepts don’t always mesh properly. Vibes are heavy for this, perpetuated by the cast and the look, not the messy, overlapping story beats. No egg creams or Nazis for Spider-Noir , but plenty of dames, drama, and distress. Want to hear even more of our thoughts? Nick and Harrison join Amarú to take A Bigger Bite out of Spider-Noir HERE .

PEE-WEE AS HIMSELF Starring: Paul Reubens Creator: Matt Wolf QUENTIN Though long-winded at nearly four hours, it’s hard to be mad at this definitive look at such an enigmatic comedy legend and his alter ego. Pee-wee as Himself explores the life and career of not only Paul Reubens, but also the 1980s cultural phenomenon that was “Pee-wee Mania.” Admittedly, I grew up watching Pee-wee Herman while knowing nothing of Reubens (except, well, you know…), so I was probably more open to what this series had to say. That said, subjects this guarded and complicated always make for an interesting focus, and the fact that this docu-series is honest, heartbreaking, and touching only adds to the nostalgia.

THE BOROUGHS: SEASON ONE Starring: Alfred Molina, Geena Davis, Alfre Woodard, Denis O’Hare, Clarke Peters, Carlos Miranda, Jena Malone, Jane Kaczmarek, and Bill Pullman Creators: Jeffrey Addiss and Will Matthews PAIGE Although The Boroughs is a well paced and engaging series that delivers strong Amblin supernatural vibes, it is quite predictable and the dialogue can feel a bit corny at times. That said, its veteran cast truly elevates the show and is the main reason to check it out. Each actor brings something refreshing to their character, which makes you care and root for them. While it definitely feels like Stranger Things with elders in a retirement community, it won't be Netflix's next phenomenon. Still, it's an easy and enjoyable watch if you're into the genre.

ADULTS: SEASON ONE Starring: Malik Elassal, Lucy Freyer, Jack Innanen, Amita Rao, and Owen Thiele Creators: Ben Kronengold and Rebecca Shaw QUENTIN It’s possible that Gen Z will really take to Adults , possibly finding it incredibly relatable. However, for this 44-year-old, it’s essentially two hours of watching annoying, almost cartoonishly diverse characters (Lucy Freyer’s Billie is the only one that presents like a real person) stumble through life in unfunny ways. Like, what is funny about twentysomethings not knowing how to call customer service (“you can do that?”) or pay a bill (“what’s a check?”)? That said, I can appreciate that Gen Z might not think jokes from my generation’s hangout shows are funny either, so to each their own. Great guest appearance from Daredevil ’s Charlie Cox, though.

Previous Next February 25, 2026 WRITTEN BY: ADRIANO In 2025, on the heels of their biggest hit, Uncut Gems , directing duo and brothers Benny and Josh Safdie separated for the first time in more than two decades to make their own projects. Benny directed the biographical sports drama The Smashing Machine , while Josh directed the dramatic sports thriller Marty Supreme . Before we jump in, fair warning: spoilers are coming, so turn back if you haven’t seen either movie yet. This article is not a debate as to which director is better because, for one, this is only Benny’s first solo outing compared to Josh’s second (he directed The Pleasures of Being Robbed in 2008). Second, if we’re basing it solely on these two films, the debate doesn’t exist. From a critical, audience, box office, awards, and cultural standpoint, Supreme obliterated Machine . Furthermore, if you watched both films and wondered what exactly it was that Benny did on the set of Gems , I don’t blame you. That said, it’s worth remembering that for Supreme , Josh carried over a lot of the key crew members from his previous collaborations with his brother, notably cinematographer Darius Khondji, composer Daniel Lopatin (aka Oneohtrix Point Never), and, most importantly, co-writer/co-editor Ronald Bronstein. The only person Benny took with him to Machine was casting director Jennifer Venditti... who also cast Supreme . So, comparing the two films feels futile, not simply because one is clearly better than the other, but because it’s so obvious to see how they are worlds apart. Machine is sedated, muted, and almost documentary-like; Supreme is propulsive, electric, and in your face. Machine wants to see its characters tick, Supreme wants to see them bleed. To me, it’s easy to see why Supreme clicked with most critics and audiences, whereas Machine didn’t land quite as emphatically. And I say that as a fan of both films. That said, my interest comes from something completely different, and it’s tied to what has always been key to The Safdies’ brilliance: not form, but the protagonists. Like any Safdie project, both Machine and Supreme are character studies of deeply flawed and opportunistic individuals, but what intrigued me the most upon rewatching both films is the degree to which Machine ’s Mark Kerr (played by Dwayne Johnson) and Supreme ’s Marty Mauser (played by Timothée Chalamet) seem to create a Venn diagram of what each Safdie brother is interested in and the type of personalities they seek to examine. WHAT MAKES THEM DIFFERENT? Before I dig into what the Safdie brothers did similarly, I think it’s important to know what separates their two lead characters. Some aspects are obvious, of course. Kerr is a real MMA fighter; Mauser is mostly fictional, although he is loosely inspired by a real ping-pong player named Marty Reisman. Kerr, while cold, especially in the relationship with his girlfriend, Dawn (Emily Blunt), is likable and genuine. Mauser is a scumbag. He’s charming, sure, but he is a lying narcissist who consistently burns every bridge in his life. Kerr’s gentle demeanour offsets his massive physique, while Mauser is a scrawny fast talker. Both characters tend to dig themselves deeper into holes, but Mauser’s combativeness results in hostility from the people he’s screwing over. Meanwhile, Kerr’s internal struggles are what blow past the network of people that care about him. Mauser views his opponents as pawns to his greatness, while Kerr has respect for the people he fights. These key differences are important to note before I go further, but it also boils down to the ways in which Josh and Benny each studied their characters. It all comes down to style. THE MASK OF AMBITION An important link between Machine and Supreme is the main characters’ relationship with their own pride. In both cases, Mauser and Kerr view their excellence and athletic prowess as a crutch and an angle to their ambition: being the best in the world. Both Safdies seem to understand that devoting your life and talent to a self-fulfilling prophecy is inherently isolating. To quote Milton Rockwell (Kevin O’Leary) towards the end of Supreme , “win that game, you’re gonna be here forever...and you’ll never be happy.” The only way for both characters to achieve their goals is to win their respective championships, something neither of them accomplishes. However, given that these are period pieces and we, the audience, are watching with historical clarity, there is an extra level of tragedy knowing that everything we see Kerr and Mauser do is fruitless. The UFC didn’t really become popular until the mid-2000s, long after Kerr’s heyday, and ping-pong, despite all of Mauser’s grand speculation that it would become huge in America, has never become popular outside of Asia. If both men had won, what would they actually have to show for it? Some money and a taste of niche fame? A moment of dopamine and self-acknowledgement? Then what? For both Kerr and Mauser, their ambition is everything, and nothing else matters beyond what they see as the end goal. It’s very clear they are talented, but delusion seems to be guiding the bad decisions they make and the relationships they strain. While the specifics of their self-sabotage aren’t the same, they seem to be motivated by the same endgame: greatness that amounts to nothingness. But it’s within the individual characters’ source of pride where the brothers differentiate. Kerr’s pride comes from his general lust for the highs that come from adoration and the masculine idea of what victory looks like; Mauser’s pride comes from young naivety and post-World War II American exceptionalism. Interestingly, despite writing these films separately, each Safdie wants to mine the inner workings of someone who wants nothing more than to accomplish something that, ultimately, isn’t important, all while being held back by destructive pride. THE COST OF LOSING Speaking of pride, one clear attribute the two characters share is their relationship with victory. For one, they are both truly sore losers. When Mauser loses the British Open finals against Koto Endo (Koto Kawaguchi), he instantly and aggressively demands a rematch, claiming the match was unfair due to Endo’s sponge racket. When Kerr loses his first fight against Igor Vovchanchyn (Oleksandr Usyk), he desperately claims the win was unfair due to Igor’s use of an illegal knee to the head. Whether fair arguments or not, both Safdies are more concerned with the way the two initially responded to their losses and the internal ramifications of it. In both of their minds, winning equals life accomplished, as the two openly boasted, with Mauser going as far as to say his winning would be the best-case scenario for ping-pong as a sport. Maybe there is truth in that, but it's readily apparent that he doesn’t actually care. Both he and Kerr have tunnel vision when it comes to their ambitions. To them, the only path through that tunnel is to win, so much so that in an interview, when asked what he would do if he ever lost a fight, Kerr simply answered, “I try not to let thoughts like that enter my mind.” When pressed again, he literally can’t process the question. For both characters and their perceived dependency on victory, their big losses early in their respective films is what sets off the series of events that bring upon their downfalls. THE CURSE OF DOMESTIC LIFE The endings to both Supreme and Machine are fascinating when compared to each other. On face value, they are almost the complete opposite, but they tie the Safdie brothers’ similarities together. In Machine , Kerr has reached a boiling point in his fractured relationship with Dawn as he’s faced with the possibility of having to fight and beat his best friend Mark Coleman (Ryan Bader), the purest relationship he has in the entire film, in order to compete in the finals of the 2000 Grand Prix. However, Kerr is eliminated early, Coleman winds up winning the championship, and Kerr’s initial despair characteristically shows before slowly washing away. We then flash forward to the present, where we see footage of the real Kerr living a normal life, far away from the glory of his past, seemingly content. In Supreme , after learning that he won’t be able to participate in the World Championship while also throwing a match against Endo in an exhibition meant as a marketing ploy in Tokyo, Mauser blows up the event and demands a real match. He narrowly defeats Endo in front of the large Japanese crowd, where the only people rooting for him are a small group of American servicemen. Mauser returns home, broke but emotionally riveted, as in his mind, he has accomplished his life’s mission. He beat the best, so he is the greatest. It’s undeniable. He is now ready to embrace Rachel (Odessa A’zion) and his newborn child, no longer seeing them as an obstacle to his dream. However, when he sees his baby for the first time, he weeps. It’s unclear whether he fully realizes it yet, but he is now facing his worst nightmare: a normal life. In other words: Kerr lost but won; Mauser won but lost. In both cases, the weight they put on their own backs has been lifted, one tragically and one cathartically. Granted, we don’t know what happens to Mauser, but we’re told in text that Kerr married his girlfriend a week after his loss and they had a child together. However, the outcomes as seen on screen draw upon similar conclusions by the Safdies, and, in my opinion, they create the perfect marriage of two directors differently studying the same idea. As I already mentioned, both Kerr and Mauser have very similar self-imposed ideas of what success looks like and how to pull themselves into the spotlight. Breaking away from the typical sports movie trajectory, both films culminate in a seemingly inconsequential match with fascinating results. Kerr’s loss allows him to let go of his self-destructive desire to win and embrace the idea of normality. Mauser won, but he’s thrust into reality anyway, forced to own all the terrible behaviour he perpetrated in pursuit of a success that he can only bask in for a short time. The skill he worked to perfect his entire life will now go to waste, all of which is perfectly summed up during Supreme ’s final shot: Marty Mauser stares at his newborn child, tears in his eyes, while the words to Tears for Fears’ “Everybody Wants to Rule the World” ring out: “welcome to your life, there’s no turning back.”

THEM: THE SCARE Starring: Deborah Ayorinde, Pam Grier, Luke James, Joshua J. Williams, and Jeremy Bobb Creator: Little Marvin QUENTIN Them: The Scare is a good example of why it’s hard for me to give up on seasonal anthologies. When each season has a different story, cast, and writers, you never really know what you may get in terms of quality. That said, while The Scare is an improvement over Covenant (Season One), it’s not perfect. The performances, atmosphere, and direction work together really well to create genuinely effective scares and creepy imagery, but they are in service of a lackluster narrative. Still, it’s a big step in the right direction for a potential third season, and horror-heads should be more than satisfied.

COPENHAGEN COWBOY: SEASON ONE Starring: Angela Bundalovic, Fleur Frilund, Lola Corfixen, Zlatko Buric, Andreas Lykke Jørgensen, Jason Hendil-Forssell, Li Ii Zhang, Dragana Milutinovic, Mikael Bertelsen, Mads Brügger, Ramadan Huseini, and Per Thiim Thim Creators: Nicolas Winding Refn and Sara Isabella Jønsson QUENTIN Filmmaker Nicolas Winding Refn has two careers: The Good One (everything before career highlight Drive ) and The Bad One (everything after Drive ). Sadly, Copenhagen Cowboy is another Bad One offering, where he only seems interested in finding new ways to use stylish neon lighting and fantastic synth-pop music, story be damned. Admittedly, both aspects are highlights here, but they don’t serve anything resembling an actual plot. It’s almost like a six-hour visual art experiment, and at that length, NWR’s self-indulgent shortcomings require a lot of patience. I wish he’d get back to his pre-Drive sensibilities because what he’s doing now isn’t working for me.