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Top Ten David Lynch Characters: A list by Nate Hill

The cinematic universe in which legendary director David Lynch has chosen to tell his stories is a yellow brick road which leads the way to a rabbit hole, wherein can be found dreams, nightmares, horror, love, spirits, small towns, psychological torment, offbeat humour, danger and endless gallons of hot black coffee. Within this mesmerizing realm lives a whole armada of strange and wonderful human beings, often with antennas extended out into both the metaphysical, the supernatural and the just plain undefinable. This makes them some of the most richly fascinating, deeply felt individuals to ever dance across our screens. If you have clicked on this post, you will see below a list of my personal top ten characters to have ever wandered out of the one of a kind mind of Mr. Lynch and been brought to life by the intuition, grace and startling gut instinct of many fine actors. Enjoy!
 
10. Marietta Fortune, played by Diane Ladd in Wild At Heart

  

Diane Ladd plays the ultimate mommy from hell in Lynch’s wacky, colourful romance road trip flick and livens the proceedings up no end with her mental instability, overprotective mania and frequent banshee screams that echo the terrifying melodrama of an exaggerated and psychotic Joan Crawford. Ladd rightly earned an Oscar nomination for her feral work, and one only needs to witness the unnerving sight of her sprawled across the bathroom floor with a liver full of martinis and a face smeared with crimson lipstick to appreciate the work funnelled into both the performance and direction to give us this horrific harpy.  

9. The Man From Another Place, played by Michael J. Anderson in Twin Peaks 
  

No other character solidifies Lynch’s pipeline to the collective subconscious like the red suited, inter-dimensional man of limited stature, a haunting presence who dances, speaks backwards and is always one step ahead of every fellow character and watching audience member who lays eyes on him. He serves as an image of what lays beyond, and no doubt an experimental choice for Lynch, one that would go on to become a token image of the television series, and his career as well. 

8. Bobby Peru, played by Willem Dafoe in Wild At Heart
  

The uniting forces of Willem Dafoe’s brand of creepiness morphed together with Lynch’s intuition for everything weird resulted in Bobby Peru, a disgusting psychotic whacko who only shows up in the last quarter of the film, yet dominates every frothy frame. Peru is a scary son of a bitch, and Dafoe lends every Joker grin, sallow grimace and harsh syllable he can muster in a very discomforting scene in which he abuses Laura Dern’s character to squirm inducing effect. This heinous outburst only makes the explosive end he meets all the more satisfying. A true Lynch monster, a Dafoe creation to remember and spin yarns about in years to come beside the cinematic campfire. 

7. Nikki Grace/Susan Blue, played by Laura Dern in Inland Empire
  

Dern turns the performance of her career in what is perhaps Lynch’s most peculiar film to date, a purposefully meta, altogether perplexing soul bender of a tale that revolves around two incredibly strong female characters, both played by her. There’s a galvanizing monologue buried within the heart of this dense saga that’s at once both a savage outcry and a self reflective summary to the character, Dern nailing every sharp turn of both that passage, and her work in the film as a whole. Lynch sat on Hollywood Boulevard with a cow and a sign advocating an Oscar nomination for her powerful work here, and upon viewing it it’s easy to see why. ‘A woman in trouble’ cries the DVD cover. Dern cries out into the dark and lets us know this character is exactly in that place, but her and Lynch lay out the breadcrumb trail in an ambiguous fashion that never really lets us in on the how and the why of said trouble. Such an achievement is pure collaboration, and worth every penny spent on the cow rental. 

6. Margaret Lanterman, aka The Log Lady, played by Catherine E. Coulson in Twin Peaks
  

The Log Lady is the symbolic lynchpin of Twin Peaks, a woman who lost her husband in a fire long ago, and quite literally carries a log around in memorial, speaking to it as if it were a person. Such a concept could be seen as silly, but in Lynch’s hands it simply is compelling. Coulson too treats it with reverence, giving her the undefined gravity that is a key ingredient in the Twin Peaks mystery and will be remembered by fans, loved by veterans and discovered by newcomers for eons.

5. Frank Booth, played by Dennis Hopper in Blue Velvet
  

The third scariest person on this list comes in the form of Booth, an oxygen loving, volatile kinkster played with primordial menace by a wild eyed Dennis Hopper. Booth took audiences by storm when Blue Velvet was released, showcasing a villain’s ability to completely shatter the idealistic and womblike notions of small town, old world bliss that came before him. He barges into the film and immediately flips the table as far as tone goes, catching everyone off guard with his criminal and very twisted antics. A true Pabst Blue villain and force of perverted nature that we won’t soon forget. 

4. BOB, played by Frank Silva in Twin Peaks
  

No demon has shivered the timbers of viewers quite like Killer Bob. He was a fluke, a lightning bolt of creative energy that Lynch channeled into what would become the scariest and strangest villain in his stable. A nightmarish and all too real apparition who feeds on rape, murder, fear, abuse and all the tools which reside within the darkest corners of humanity’s toolkit. Silva is a salivating horror, feeling his way through a performance that is rooted directly within the forces of undiscovered nature and firmly committed to scaring the pants off of us. 

 3. Mystery Man, played by Robert Blake in Lost Highway
  

Blake unsettles big time as a pasty faced, hollow laughed denizen who torments the protagonist at the most unexpected of moments and can’t help but utter a grinding giggle every time he can harvest an iota of confusion from his quarry. Whether the accusations against Blake in real life are true or not, the guy just has a corrosive vibe to his work and it kills me that he never got a chance to live out more years in cinema. This was one of his last two roles, and he’s the acrid soul of the piece, a snarling symbol of mental instability and otherworldly nastiness within the main character’s psyche.

2. Special Agent Dale Cooper, played by Kyle Maclachlan in Twin Peaks
  

Ahh, Dale Cooper. No one puts a big old smile on my face like him. In a career that has a whole bunch of lunatics and weirdos running amok, Lynch has given us the ultimate good guy, a comforting, likeable lawman with a keen sense of character and a deep love for both coffee and copious amounts of cherry pie. Maclachlan soars into pop culture legend with his winning smile, delightful idiosyncrasies and unyielding dedication to the law. 

1. Laura Palmer, played by Sheryl Lee in Twin Peaks
  

The battered angel, the homecoming queen, the beauty wrapped in plastic. No one represents both the decaying, corrupted human spirit and the same purity that wages war upon the sickness as well as Laura. When Twin Peaks was cancelled and Lynch launched plans for a big screen follow up, he stuck with the one element that made the show so special: Laura. Through hell, high water and every horror in between he stuck with Laura, turning the film into a final loving ode to her that would be seen by many as too much, and a stark deviation from the show. He was simply following through with the uneasy themes which mean so much to him, represented by the ultimate girl in trouble, whereby spiritual forces or simply the malfunction within humanity. Lee has never been better, serving as the rose within the centre of the dark bouquet of characters which Lynch  draws forth from his dreams. 

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Brown’s Requiem: A Review by Nate Hill

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Brown’s Requiem is a neat little slice of Los Angeles film noir in the tradition of L.A. Confidential and Mulholland Falls. It’s based on a book of the same name that’s written by James Ellroy, who actually wrote L.A. Confidential as well, so the crime vibe here is thick, rich and geniune. Michael Rooker is flat out fantastic as Fritz Brown, a world weary, hard bitten private investigator who is hired by a rotund caddie named Fat Dog (Will Sasso) to find his kid sister (Selma Blair) a wayward girl who has apparantly run off with a her sugar daddy, and may be in danger. Brown noses around and before he knows it he’s neck deep in police corruption, violence and murder. It’s convoluted, but film noir always is, and when the plot is left to bake in the California sun, it’s going to be nicely sinewy and labyrinthine to please all the filmgoers put there who fancy themselves gumshoes and like to decipher the happenings along with the protagonist. The trail leads Brown to sinister police captain Cathcart (the late Brion James), brutal thug Richard Ralston (Jack Conley) and many other bottom dwelling nasties. This is a rare lead role for Rooker and he’s riveting, fitting this genre protagonist like a glove. His innate menace and gruff whisper of a voice are put to good use as the hangdog tough guy takes care of business in style. Watch out for Kevin Corrigan, Tobin Bell, Christopher Meloni and a brief but darkly funny cameo from Brad Dourif. Where L.A. Confidential hid it’s grit beneath a sheen of glamour, Brown’s Requiem wears it proudly on its seedy sleeve, a scrappy little cousin to Confidential, and a sturdy little noir mystery boosted by Rooker’s work.

Barry Levinson’s What Just Happened: A Review by Nate Hill

  

Barry Levinson’s What Just Happened is an unfairly overlooked little Hollywood satire, a little less bombastic than his excellent Wag The Dog, but no less biting. It’s like Entourage on Zanax, a surprisingly laid back entry into an oeuvre that is usually foaming at the mouth with frenzy. Robert De Niro plays Ben, a very stressed out movie producer who is dealing with a zillion different things at once, most of which are going wrong. The character is based partly on real life Hollywood producer Art Linson, and his book. Ben has a lead actor (Bruce Willis playing Bruce Willis) who refuses to shave his bushy beard for a film. Anyone who remembers the film The Edge with Alec Baldwin and how big his beard was in that, well, that’s where the idea came from. That’s just a taste of how many weird things that both Hollywood and his personal life toss at Ben. He’s also in post production on a Sean Penn film (Penn also plays himself) with a very stubborn and flamboyant director named Jeremy (Michael Wincott) who refuses to cut the film in accordance with the studio’s wishes (here manifested by an icy Catherine Keener). Ben’s daughter (a weepy Kristen Stewart) is going through personal crisis, he’s also got a bitter rivalry with an obnoxious writer (Stanley Tucci) and has to babysit an anxiety ridden agent (John Turturro). It’s all a lot for him to handle and we begin to see the turmoil start to boil under Ben’s cool exterior. The cast is beyond ridiculous, with additional work from Moon Bloodgood, Peter Jacobson, Lily Rabe and Robin Wright as Ben’s estranged wife. Standouts include Michael Wincott who is a comic gem and gives the film it’s life with his pissy, enraged and altogether charming performance. Willis is also priceless as he ruthlessly parodies himself to the hilt. It’s slight, it’s never too much and is probably a bit too laid back for its own good, but I had a lot of fun with it, and it’s always cool to see meta movies about the inner workings of Hollywood. 

The Devil Wears Prada: A Review by Nate Hill

  
The Devil Wears Prada is an interesting one. It’s one part sincerity, two parts cynicism and possesses a certain love for each and every character within its narrative that it’s reluctant to admit to at times, perhaps jut to keep a low profile with its realism. I’ve never read the book, but the film starts off going one way and seems like it will tidy itself up in a nice little resolution, and abandons it’s comfort zone two thirds of the way through for something that cuts cuts a bit deeper. Anna Hathaway starts her arc in the adorable zone and progresses through confidence and finally arrives at in a jaded daze at a tough life lesson. She plays Andrea Sachs, a would be journalist who decides to take a detour and work as second personal assistant to Miranda Priestly (Meryl Streep) the editor and slave driver at Runway magazine, in hopes that doors will eventually open for her in her field. Not quite the breezy excursion she hoped for, as Priestly turns out to be a full on nightmare. Streep blusters into the film like an acy tornado, steady at the reigns of her character and completely owning every syllable of her delicious dialogue. Streep plays her as the ultimate boss from hell, and then cleverly shows us the woman beneath in one key scene that resonates nicely. Most of the time her personality resembles that of my fifth grade schoolteacher on a bad day, and it’s utterly hilarious to see Streep, a god amongst progessionals, go for it like a praying mantis. Andrea also comes under the scrutiny of prim Emily (Emily Blunt, excellent), Miranda’s first assistant who is aghast at her decision to hire this walking fashion disaster. Andrea quickly catches on though, holding her own with this difficult job at the expense of her relationship with her boyfriend (Adrian Grenier of Entourage). Stanley Tucci is equal parts snazzy and snooty as Nigel, Miranda’s associate and eventual mentor figure for Andrea, superb as always. Simon Baker also shows up as a hotshot who tries just a little too hard to sweep Andi off her feet. Like I said before, the film tricks you with fluff and banter and eventually ends up somewhere more serious, with a painful look at what it takes to cut it in the business world, and the allegiences which sometimes get slashed and burned in favour of covering your own ass. Ugly stuff, for sure, but necessary and honest, a decision that helps the film greatly. Plus, it’s pretty damn funny most of the time. Great stuff.

Renny Harlin’s Cliffhanger: A Review by Nate Hill

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Renny Harlin’s Cliffhanger is to this day one the best and most exhilarating action films of the 1990’s. It’s big, bold and full of protein for lovers oft the genre. From the lively villain to the unbelievable stunts to the set pieces, it’s a tough package to beat. A stunning, vertigo inducing opener set high atop a snowy peak that ends in tragedy. A breathtaking airial heist carried out between two planes via cable wire. A whopper of a helicopter crash. Countless bone snapping, visceral hand to hand combat scenes. The list goes on. Sylvester Stallone puts his physique to great use as Gabe Walker, a rock climbing mountaineer guide who is accidentally responsible for the falling death of his best friend’s girlfriend. His buddy Hal (Michael Rooker) blames him no end, and he leaves in personal disgrace. Elsewhere, ruthless backstabbing psychopath Eric Qualen,  (John Lithgow) leads a team of dangerous mercenaries through aforementioned heist, plundering millions from a US treasury department plane and disappearing into the snowy desolation. Soon they come across Hal and a group of people touring the region, who are soon hostages. Word somehow gets out to Stallone and he’s back in business, out for redemption and then chance to brutally dispatch this gang of snow pirates. The action, refreshingly absent of digital gimmicks, packs one hell of a punch. Every fight scene feels breathless, dangerous and desperate. Every blow is thunderously felt, courtesy of director Harlin’s commitment to his work and the efforts of a stellar stunt team. Stallone isna beast and I forget that every time I haven’t seen him in a while. He’s almost as big as the mountains he scales here and each and every bad guy damn well finds this out. Rooker is as intense as he always is, love the guy. Lithgow is a freaking villain for the ages, in a role intended first for David Bowie, then Christopher Walken. I’m glad the ball ended up in his court, because he subsequently knocks it back out of the park with his cold blooded, deliciously evil performance. He makes Qualen so scary and merciless that even his own people get the jitters around him. There’s also work from Rex Linn, Caroline Goodall, Craig Fairbrass, Max Perlich, Paul Winfield, Ralph Waite, Don S. Davis, Bruce McGill and Janine Turner. This is just one of the finest action movies to ever swing into theatres or onto dvd. Brutal, scenic, adventurous, exciting, violent, snowy, just plain kick ass. If you don’t like this movie, you don’t like ice cream.

Margin Call: A Review by Nate Hill

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J.C. Chandor’s Margin Call sustains a laser focused, wilfully meticulous look at the days leading up to the 2008 financial crash, showing us life within one wall street office building during a nervy period which now no doubt is remembered as the calm before the storm. Various characters in different positions of the hierarchy anxiously brace themselves as the jobs begin to get cut and the dread looms towards them like the inevitable rising sun at dawn. It’s set all in one afternoon and night, compacting a far reaching event which spanned years into the microcosm of a single 24 hour window, a tactic which sits through the larger world implications and brings it in for something a little more intimate. Zachary Quinto plays a young trader who discovers a rip in the lining of the economic infrastructure, a precursor to the eventual disaste. I’m not being purposefully vague and cryptic with that, I just don’t personally understand all the exact ins and outs of what went wrong back then, and having not the slightest knowledge of wall street jargon, that’s the best I can do. He brings this knowledge to his superiors who react in varying ways. Kevin Spacey is a disillusioned big shot who sees his life going off the rails alongside the country’s market, and mopes in his swanky office. Paul Bettany is a cocky young upstart who uses casual indifference to shade the bruises he’s got from knowing what will happen. Demi Moore is a company head who looks out for herself while others in the company. Jeremy Irons provides scant moments of humour as a bigwig fixer who arrives on a chopper to set things straight, or at least assess the damage. The best work of the film comes from Stanley Tucci (surprise, surprise) as a jilted employee who has been laid off in the confusion, and is seething about it. His melancholic monologue about what it takes to propel America’s industry and economy forward resonates with a humanity that cuts deep. The film ticks along with a pace that’s both measured and swift, with little time for introspect, yet showing it to us anyway amid the chaos. Watch for appearances from Penn Badgley, Al Sapienza, Simon Baker and Mary McDonnell as well. Chandor let’s the proceedings thrum with an inevitability that hangs in the air as the promise of the impending crisis, a feeling that serves to impart not why it happened, not how it happened, but the fact that it did happen, to each and every individual person who was affected, as opposed to the country as a whole.
 

B Movie Glory with Nate: The Box

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The Box is a moody little crime drama thriller starring James Russo, whose appropriately brooding persona lends itself to grim neo noir films such as these. He’s an actor who has almost entirely worked in B movies for a long time, and while you have to watch out for most as they are usually geniune piles of dog shit, this one is a jewel amongst the rubbish. Russo plays Frank Miles here, an ex con trying to go straight, sticking with the dead end job his P.O. has given him to stay out of trouble. Soon he meets beautiful waitress Dora (Theresa Russell) who falls in love with. The two of them try to start a new life together, but as we all know sometimes it’s very hard to run from your past, and soon enough trouble comes looking for them. Frank tries to get some money owing to him from his sleazebag of an ex-associate Michael Dickerson (a detestable Jon Polito) and things go wrong. Violence ensues, and Frank finds himself in the possession of a mysterious box which he can’t open and hasn’t a clue about. Dora has a scumbag boyfriend in club owner Jake Ragna (a terrifying Steve Railsbac) who I’d dangerous, volatile and obsessive about her. Soon, an evil corrupt Police Detective named Stafford (Michael Rooker) makes their lives hell as he searches for the box. Frank and Dora take refuge at the home of Stan (Brad Dourif, excellent), Frank’s former cell mate,  friend who is now a weed dealer. Even this may not be enough to keep them safe, as the long arm of the crooked law probes, and Stafford gets closer and closer. It’s a depressing situation forged by bad decision and the perhaps inescapable knack for trouble that some people tend to have, whether it’s coincidence or a measurable character flaw is eternally up for debate. The pair try so hard to fix their lives and still seem to be headed for a tragic dead end. Russo has sadness in his eyes in every role, as well as a boiling anger to match it, he fills out his protagonist very well. Rooker and Railsback make scary work of the two villains, especially Rooker who uses the kind of blatant brutality and abuse of power that are essential ingrediants in very dangerous men. Dourif is Dourif, which is never not mesmerizing, and Russell does the wounded angel thing down to the bone. A sad story, with a dream cast (for me, at least), a downbeat reflection on lives gone down the wrong path, a diamond in the rough noir thriller of the best kind.