Posted tagged ‘David Lynch’

“There are many other cop shows built around investigation, of course…”

June 28, 2011

. . . But where something like Bones or the Mentalist lets the knowing detective tie up the truth in a pretty bow at the end of (at least most) episodes, the Wire and Twin Peaks treat truth as an overwhelming excess, which expertise can provisionally master but not contain. The resulting tragedy is is in many ways the guarantor of the reality. The real does not have a happy ending.

The Hooded Utilitarian–home to the Victorian Wire piece from a few months back–has a new post up exploring some parallels between (of all shows) The Wire and Twin Peaks. Noah Berlatsky includes some provocative thoughts about the pervasive whiteness of Twin Peaks, as well as a strongly observed coda about the weirdo mundanity of Andrei Tarkovsky’s Stalker, but the genius of the piece is basically in putting the following clips back to back:


(This is awesome)

March 9, 2011

via Jimmy Chen at HTMLGIANT

Milestone Scenes: Buscemi, His List, and The Lipstick in BILLY MADISON

December 31, 2010

I first attempted to watch Billy Madison in fifth grade, alongside my disapproving parents. Disapproving of the film, not of me, although they weren’t crazy about the way I was behaving that year either. Probably part of the reason why the turned the movie off after the scene in which Adam Sandler deliberately pees his pants–afraid I would get some ideas. And they were probably right to do it; I don’t think I soiled myself for attention afterward, but it’s the kind of thing I totally could have done at eleven, with enough prodding from the friends that my parents also disapproved of. In any case, I regret that we didn’t make it to the above scene, which I wouldn’t see until a year or two later. I have no idea how my mom and dad would have reacted to Steve Buscemi languidly smearing lipstick on his face in my presence. (more…)

Somebody’s Cranky: It’s a Link Post

September 6, 2010

At /Film, Adam Quigley notes the proliferation of meta-movies at the multiplex and asks, “Is Film Doomed to Become a Mockery of Itself?” The answer (mine, not his) is “No, relax, the meta-movie has been around for decades, whether your definition of meta-movie is narrow or very broad like Adam Quigley’s, and cinema has survived, even evolved in lots of interesting ways, and managed not to become a pit of meaningless self-reference.” Still, there’s a really good conversation to be had about Machete/Piranha 3D/Pineapple Express/Snakes On a Plane/etc., even if Quigley’s question reads a tad hysterical.

At NYC Graphic, an interview with comics’ top funnyperson Michael Kupperman, and at the L.A. Times website, a profile of George Herriman for some reason.

At the AV Club, Nathan Rabin takes on David Lynch’s Dune as part of his My Year of Flops column, in the appropriately titled “WTF Case File #170.”

At Rockaliser Baby, two posts about artists determined to make their work more difficult to enjoy: “Goddamnit Morrisey” and “Google Maps Is Not Art (Or, I Don’t Give A Fuck About My Childhood Home).”

Also, Mad Men‘s on tonight! And anyone following the show would do well to check out Natasha Vargas-Cooper’s Mad Men Unbuttoned, a site consistently full of astute Man Mannotations.

Scattered Thoughts about Watching TWIN PEAKS for the First Time

June 4, 2010

Besides being the name of a film director, David Lynch is also a genre and, more loosely, an adjective. His name is so potent with associations that his work no longer seems to need describing. But when Lynch’s movies are described, dreamlike or dreamy have to be among the most-used words. This cliche isn’t limited to writing about Lynch, but in that context it’s especially apt, to the point of being one of the most forgivable critical cliches I can think of.

The heavy use of dream/dreamy/dreamlike with regard to Lynch’s oeuvre seems inevitable, the more one thinks about what dreams are: associative, symbolically dense but not dealing strictly in metaphor, essentially forward-moving but with no consistent sense of time. Putting it another way: you could articulate–reasonably well–the general experience of dreaming with the same words used in an effective description of the films David Lynch. Take what I’ve cherry-picked from David Foster Wallace’s ’96 profile piece-cum-defense: (more…)

MACHETE, Mainstream Comics, and LOCAL HERO: It’s a Link Post

May 11, 2010

The Machete trailer arrived in time for Cinco de Mayo, and it’s accidentally the most relevant movie of the year:

The oral history of Galaxie 500 up at Pitchfork is pretty revealing stuff. (Was Dean Wareham supposed to sound like an amateur on the first record? Cause he always sounded to me–an actual talentless guitar player–like he knew exactly what he was doing.) BONUS: Ten Albums That Inspired Galaxie 500, from Aquarium Drunkard back in March.

In comics: At Robot 6, Graeme McMillan asks, is there such a thing as a mainstream comic? And at Comics Alliance, Chris Sims–normally one for tomfoolery–tackles the dubious racial politics of DC Comics’ recent backwards moves. (Meanwhile, he admits it’s not comics, but Tom Spurgeon links to a documentary on the making of Local Hero at the Comics Reporter.)

io9 rediscovers David Lynch‘s post-Twin Peaks cash-in: Japanese ads for Georgia Coffee, starring Kyle MacLachlan: