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.