TWIN PEAKS: THE RETURN

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Let’s discuss Showtime’s finest “original” programming and David Lynch and Mark Frost’s cataclysmic finale of the TWIN PEAKS saga. First things first, will we get another season or a standalone film that is akin to FIRE WALK WITH ME? Probably not, no. Sure, stranger things have happened, but it’s more than likely we will not get another visual TWIN PEAKS story, and may not even get another film from Lynch himself. This very well could be it for both Peaks and Lynch.

What does the final season mean? What does it answer in the twenty-five-year absence? What happened to Cooper at the end? Honestly, none of that really matters, does it? The more diehard fans of both Lynch and his seminal series with Mark Frost, are not looking for answers, one could say that they are just seeking more unfulfilled questions that will keep them returning to the Peaks canon over a series of years, if not decades.

One thing is apparently clear from THE RETURN. Lynch’s obsession with dreams and a parallel reality which is all rolled into lifelong inspiration, THE WIZARD OF OZ. OZ deals very much in dreams, a parallel reality, and one’s journey back home or at the very least the center of their own reality. There are a plethora of motifs and nods to the film within the series.

THE RETURN isn’t very much like the original series, aside from a string of arcs from beloved characters. What truly perpetuates the main narrative is FIRE WALK WITH ME, which is even more of an important component of the mythology of TWIN PEAKS than ever.

David Bowie’s brief cameo as time traveling Blue Rose Task Force Special Agent Phillip Jeffries became the great and powerful Oz of THE RETURN. He spoke in a method of half riddles, through puffs of steam coming from a percolator.  Sadly, David Bowie was not able to start and complete his scheduled scenes, so instead actor Nathan Frizzell was cast as the voice of Jeffries, and even overdubbed Jeffries’ dialogue from FIRE WALK WITH ME and THE MISSING PIECES. Regardless of the lack of David Bowie, Lynch was able to bring him back into the spotlight, not only in the foreground of the new series but also as the pop culture icon that he had always been.

 

Without diving into the Lynchian mathematics that is near impossible to solve within THE RETURN, the series ends itself exactly where it began. Cooper is in the Lodge, speaking with Mike and with Laura Palmer whispering in his ear. What does that all mean? It means that Cooper is looped inside of his own dream, within the Black Lodge, and with this reveal, it certainly calls the entire run of this season into question, and makes us ask ourselves what is the reality of the show? Is the reality we saw outside the Black Lodge a tangible reality, a parallel reality, or is it fictitious and all conjured up within Dale Cooper’s head as his sits in the Black Lodge?

David Lynch and Mark Frost brought the season back to where it began and left the audience with a bigger question than what was originally asked. They not only created the finest television event of the year but possibly ever. They have crafted an alluring, taut, and downright haunting story that has no end.

 

Force Friday Podcast: THE EWOK ADVENTURES

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Join Frank and filmmaker Derek Wayne Johnson as they discuss BOTH of the Ewok films that are seminal films from their childhood. Don’t forget to purchase Derek’s film, JOHN G. AVILDSEN KING OF THE UNDERDOGS from retailers everywhere!

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The Auteur Series: Christopher Nolan’s DUNKIRK

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Frank, Tim, and Jason discuss Christopher Nolan’s latest film, DUNKIRK, and his filmography in general. Just to be forewarned, they do get into a yelling match over a few of Nolan’s films. But hey, it’s all about their cinematic passion, right?

Twin Peaks: The Return of Phillip Jeffries

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Join Tim, Mya, and Frank as they discuss the latest episode of TWIN PEAKS, WE ARE LIKE THE DREAMER and the return of David Bowie’s Phillip Jeffries! For everything Twin Peaks, please visit Mya’s website here.

The Auteur Series: Stanley Kubrick Volume II with Special Guest Raymond Benson

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Tim and Frank are back with author and film historian Raymond Benson for their second part of their Stanley Kubrick chat. They start with returning to 2001 A SPACE ODYSSEY to talk about the music that Kubrick used, and continue through Kubrick’s filmography to EYES WIDE SHUT and AI. The three of them will be returning soon to discuss the filmography of David Lynch.  To learn more about Raymond, please visit his website here.

Spike Lee’s OLDBOY

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For a film directed by Spike Lee, written by Mark Protosevich, and starring Josh Brolin, Elizabeth Olson, Sam Jackson, and Sharlto Copley, OLDBOY gets a lot of unwarranted and obnoxious criticism. Of course, the original film is terrific, and a game changing cinematic explosion; as is this film. It’s a reinvention of the remake wheel.

Those who have seen the original film, or know quite a bit about it, know the beats. They know the twists and turns. The remake offers something new and refreshing as it builds upon what made the original film great, only to accentuate it. The third act big reveal is darker, the main character has more of a backstory, and there are newly formed characters that flesh out the story.

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Josh Brolin has rarely been better. He gives a transformative performance as the deplorable Joe Doucett. Within the first few pages of Protosevich’s script, he not only manages to make Doucett unlikable, he makes you loathe him. Yet as the film closes its second act, we begin to root for him, waiting for him to rise up and get his revenge. Brolin is fantastic, he physically and mentally transforms, and it is a marvel to watch.

Sharlto Copley still remains one of the best actors who has yet to reach a broader audience, and he turns a chilling and demented performance that is even more transgressive than the root of the antagonist’s motivations in the original film.

Part of one’s cinematic journey is acceptance. More times than not remakes are immediately cast out of a cinephile’s pallet. Especially when that remake is a film that the highbrow’s hold so sacred and dear as if they were the first to discover it.

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The beauty of the remake is that it takes the source material very seriously, even rooting a lot of what is on screen from the original Manga graphic novel. The film isn’t a shot for shot retelling, nor is it a lazy attempt to capitalize on a sexy foreign property; it’s a parallel retelling of an ultra violet and taboo story that most often Hollywood is afraid to touch.

While some may not particularly care for the film, at the very least they should appreciate the craftsmanship and seriousness this film was given and spend less time trying to score points with like minded peers with tunnel vision regarding the original film.

Christopher Nolan’s DUNKIRK

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DUNKIRK may just be Christopher Nolan’s most anticipated feature. He roared out of the gate with his Batman trilogy, while making THE PRESTIGE and INCEPTION before completing his Dark Knight trilogy, and then delivering a science fiction film so great that it can only be compared to 2001 A SPACE ODYSSEY. And with Dunkirk, he releases a film with an incredibly lean runtime; yet it is a master class in filmmaking. It’s taut, gripping, and nerve racking.

The best decision Nolan has made in his career lies within the film. Never once are German’s show in the film, all we see are the bomber and fighter planes, and machine gun fire. The entire film is told through the viewpoint of the English and through Nolan’s seminal nonlinear timeline.

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It’s told by land, through the viewpoint of an English soldier as well as a wonderful turn by Kenneth Branagh as an admiral stationed on the dock at Dunkirk awaiting a fleet of boats to rescue the troops. By sea, through the eyes of Mark Rylance, a well to do Englishman taking his boat across the channel to transport troops. And finally, by air through the guise of Tom Hardy as a spitfire pilot who is running out of fuel while trying to stop the Nazi bombers from killing more men on the beach.

DUNKIRK arrives as Nolan’s best film, but in particular the finest job that Nolan has done as a director. It’s a filmmakers film. Whilst all the actors do an incredible job in the film, there is not a single performance that steals a scene, there isn’t a single actor that chews up the scenery. Nolan assembles a flawless cast, chalked full with the likes of Branagh, Hardy, Rylance, and Cillian Murphy who navigate the film with a plethora of unknown actors that embody the soldiers awaiting impending doom on the beach.

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The film is propelled forward by its story, by the events of the narrative. Sure, Michael Caine’s voice cameo, Hardy being a total bad ass in the spitfire, Rylance is the stoic old man who is on a mission for his country, and Kenneth Branagh is perfect in his Laurence Oliver role – and Hans Zimmer’s score is perfection, but none of that is as apparent as the story of hope and determination of the British people.

Perhaps one of the strongest, and least talked about, aspects of DUNKIRK is that it is rated PG-13. Nolan proves that filmmakers don’t need to add more CGI blood or exploding body parts to a film just to get an R rating to make the film feel intense and what life is like during wartime. Nolan proves that you don’t have to make an adult film with an R rating to be effective and engaging or to appease those who flamboyantly pine for an R rated adult film.

The James Bond Series: DIE ANOTHER DAY

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James Bond is back with Frank and Tom thoroughly discussing Pierce Brosnan’s final cinematic outing as James Bond, DIE ANOTHER DAY. They also discuss Daniel Craig’s tentative return for Bond 25, Pierce Brosnan’s tenure, and a bit about Brosnan’s post Bond career. Enjoy!

The Auteur Series: Stanley Kubrick Volume 1 with Special Guest Raymond Benson

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BensonWelcome to our next installment of The Auteur Series, and this episode will be our first installment focusing on the works of Stanley Kubrick. Tim and I are joined with an incredibly special guest, Raymond Benson. Mr. Benson is a writer, novelist, and film professor at the College of Dupage. He’s well known within the Bond community as authoring original Bond novels as well as film novelizations, side note, I vividly remember reading his novelization of TOMORROW NEVER DIES when I was in Middle School. He served on the Board of Directors of The Ian Fleming Foundation from 1995 to 2011. Aside from Bond he’s an all around film expert, teaching film classes on Stanley Kubrick, David Lynch, Ingmar Bergman, Martin Scorsese, Alfred Hitchcock, Terrence Malick. – if I read all of Mr. Benson’s credentials, it would literally fill up our entire website! For any and all information on Mr. Benson, please visit his website, raymondbenson.com.

Derek Wayne Johnson’s JOHN G. AVILDSEN KING OF THE UNDERDOGS

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19225757_10102471107188568_2867561815267919866_nJoining Frank is filmmaker Derek Wayne Johnson whose film JOHN G. AVILDSEN KING OF THE UNDERDOGS premiered in February at the 32nd Santa Barbara International Film Festival. It is a fantastic film, chalked full of interviews with Sylvester Stallone, Martin Scorsese, Talia Shire, Ralph Macchio, Burt Young, Carl Weathers, Burt Reynolds, Bill Conti, and John Avildsen himself. Derek is currently going into production on his next two films, STALLONE: FRANK THAT IS and 40 YEARS OF ROCKY: THE BIRTH OF A CLASSIC. For those who tuned into our SBIFF podcast, you should remember my red carpet interview with Derek. 

The film hits theatres, blu ray, DVD, and VOD on August first. Please, pre-order the film at Chassy.

To order on iTunes, please click here.