Now In Full Color, with a Happier Ending

Twin Peaks 3.8: Gotta light?
(SPOILERS) Er…. Okay. An episode presumably conceived by Lynch and Frost entirely to stymie recap artists. Which is laudable in itself, I guess. It’s probably the closest the director has come to all-out Eraserhead weirdness since, only substituting fear of the bomb for fatherhood. Fortunately, unlike that movie – which I don’t really care for too much, even knowing that makes me a not-we when it comes to Lynchdom – I found Gotta light? mostly engrossing and only a little dull (these ratios are just about reversed with Eraserhead). It probably helps too that it’s a good 20 minutes shorter.

And this isn’t going to be too long either. Not because I think the episode is impenetrable – I suspect most people have roughly the same the gist as to what’s going on, give or take – but because there are so many times you can ejaculate “anti-Malick” as a description of what’s going on here, or hyperbolise that Lynch has just changed the face of television.

Evil Coop g…

Vamp (1986)
(SPOILERS) My affection for Vamp is only partly based on the adorability therein of Dedee Pfeiffer, in what might be the closest she’s come to a starring role. Ostensibly an entry in the resurgent vampire-comedy genre (Fright Night, The Lost Boys), Vamp actually slots more effortlessly into another ‘80s subgenre: the urban nightmare comedy. We’d already had Scorsese’s masterful After Hours and John Landis’ knockabout Into the Night, and writer Richard Wenk’s big screen directorial debut shows a similar knack for throwing its protagonists in at the deep end, up against an unfamiliar and unfriendly milieu.

The Company You Keep (2012)
(SPOILERS) You can absolutely see why The Company You Keep would appeal to Robert Redford’s sensibilities, draped as it is in a soft-radical banner and culminating in easy-positive affirmations that even the movie’s inveterate zealot is ultimately swayed by (family over changing the world). As such, it’s a cop-out on a number of levels, but it’s also his most satisfying directorial effort in a considerable time, and when putting its best foot forward, Lem Dobbs’ screenplay (adapting Neil Gordon’s novel) juggles thriller elements with a sometimes-insightful probing of moral imperatives and action over complacency.

Snowden (2016)
(SPOILERS) There are a fair few Oliver Stone movies I haven’t much cared for (Natural Born Killers, U-Turn, Alexander for starters), and only W., post millennium, stands out as even trying something, if in a largely inconspicuous and irrelevant way, but I don’t think I’ve been as bored by one as I have by Snowden. Say what you like about Citizenfour – a largely superficial puff piece heralded as a vanguard of investigative journalism that somehow managed to yield a Best Documentary Feature Oscar for its lack of pains – but it stuck to the point, and didn’t waste the viewer’s time. Stone’s movie is so vapid and cliché-ridden in its portrayal of Edward Snowden, you might almost conclude the director was purposefully fictionalising his subject in order to preserve his status as a conspiracy nut (read: everything about Snowden is a fiction).

Blood Father (2016)
(SPOILERS) There are points during Blood Father where it feels like Mel is publically and directly addressing his troubled personal life. Through ultra-violence. I’m not really sure if that’s a good idea or not, but the movie itself is finely-crafted slice of B-hokum, a picture that knows its particular sandpit and how to play most effectively in it.

The Falcon and the Snowman (1985)
(SPOILERS) I suspect, if I hadn’t been ignorant of the story of Christopher Boyce and Andrew Daulton Lee selling secrets to the Soviets during the ‘70s, I’d have found The Falcon and the Snowman less engaging than I did. Which is to say that John Schlesinger’s film has all the right ingredients to be riveting, including a particularly camera-hogging performance from Sean Penn (as Lee), but it’s curiously lacking in narrative drive. Only fitfully does it channel the motives of its protagonists and their ensuing paranoia. As such, the movie makes a decent primer on the case, but I ended up wondering if it might not be ideal fodder for retelling as a miniseries.

Twin Peaks 3.7: There’s a body all right.
(SPOILERS) First things first: my suggestion that everyone’s favourite diminutive hitman, Ike “The Spike” Stadtler, had been hired by the Mitchum brothers was clearly erroneous in the extreme, although the logistics of how evil Coop had the contingency plan in place to off Lorraine and Dougie-Coop remains a little unclear right now. As is how he was banged up with the apparent foresight to have on hand ready blackmail tools to ensure the warden would get him out (and why did he wait so long about it, if he could do it off the bat?)


Launching right in with no preamble seems appropriate for his episode, since its chock-a-block with exposition and (linear) progression, almost an icy blast of what settles for reality in Twin Peaks after most of what has gone before this season, the odd arm-tree aside. Which might please James Dyer, who in the latest Empire “The Debate”, took the antagonistic stance to the show coming back and dismissed it as “gibbe…