Posted tagged ‘Twin Peaks’

‘Driven’ to THINK

September 23, 2011

It’s a very minute sort of cognitive dissonance that results when one of your favorite film writers picks apart a film you recently loved without reservation. But then again, minutiae is the stuff blog posts are made of, so instead of the paean to Drive I’d scribbled down some notes for (in short: Nicholas Winding Refn’s directing is a skillful Twin Peaks-style tightrope walk above the valley of camp, and his movie’s the best filmic argument this year that style can be substance, with instances of violence that carry real impact and weight, and great performances from Ryan Gosling and Albert Brooks, plus a little bit of teeth face from the Cranman, too), here’s Richard Brody’s take, in the interest of food for thought/devil’s advocacy/etc.:

For a film centered on the madness arising from reason, [Drive is] singularly devoid of irony; for one built on absurd contrasts, it’s humorless; for one based on rapid calculations based on changing circumstances, it’s ludicrously impractical.

There’s a lot more at the link, including some pretty fair-handed complements directed at Refn and Brooks. Please note that Brody also praised Eddie Murphy’s performance in Norbit earlier this month, which either undermines his credibility here or means he’s the gutsiest person on the New Yorker masthead or both. He’s an enigma! Look at that beard! There are SECRETS in that thing.


“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:

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: