Lynch again with haunting images. It seemed like everything he touched in the nineties changed immediately into pure gold. This one is disturbing, Lynch dares everything, goes full over-the-top and manages to make you think and to move and scare you a lot. Through the pure power of images, editing, sound design (Badalamenti is everywhere, almost too much), Twin Peaks make you dream - but boy it’s not a pleasant one !
I'm still not sure the opening hour has any business being here (but Carl Rodd!), but everything in Twin Peaks is solid gold.This is the movie I wanted Blue Velvet to be, all gonzo intensity with no silly social satire. What sends this to the big leagues is Lee as a woman whose body may be destroyed but refuses to yield her soul to evil. And does this film confirm that in heaven everything is fine?
While the unique mood is present and majority of the characters manage to make their way on screen, the whole experience gives the feeling of a montage of out-takes from the TV series. Some of the scenes seem to be there so that the given character has a chance to say one or two lines. I hope this gives an opportunity for the fans of the TV series to connect the dots. Most importantly, the magic is still here... ;-)
The TV show was stellar, the movie is crap. It shows everything we already knew, but didn't need to see, in a very cringy way. Most of all, Sheryl Lee acting is terrible in this part, really poor, amateur-like, as not directed at all. This is an insult to the series, taints Twin Peaks name, I wish I'd never seen this mess. Luckily, the late third season is one of the craziest (good) things I’ve ever watched!
Filmic suburban surrealism gauging the sensory experience of drowning in the depths of darkness. The once-familiar TV "Twin Peaks" is stripped of its whacky-absurd melodrama to reveal the sinister, sombre and chaotic underbelly via Laura's point-of-view, resurfacing her trauma through cinematic aspect ratio in bleeding electric technicolour. An overwhelming and richly textured work requiring more than one viewing.
Unfettered from the censorship of television, David Lynch dove deep into the cesspool of surrealist psychological horror in this film revival of the cult series. It's easy to see why this was savaged by the rabid fanbase because while the series allowed you to safely dip your toes into madness, this drags you down a deranged world of broken characters without offbeat humour to keep you from drowning in the insanity.
You simply recognise the master director in his use of colour, camera shots and setting of the scenes. But I can't think of another movie where plot is such a mess. Caracters come and go, plotlines are left open. Maybe you had to watch the tv series to understand something of this blur of ideas.
Obsessed with profane aspects of humankind (filth, disgust and incest, the latter a potent symbol of lack of societal reproduction aptly placed in the homophobic American South), Lynch manages to touch mythology and to conjure a universe of doublings that play with cinematic tributes (Hitchcock) and with the gaze's horror of finitude, yet by reproducing and heightening this very profane world along with its clichés.
6,5/10, something is not right with Lynch and i think it's him being pompous. The audiovisuals are excellent and there are some scenes worth mentioning, but the story and the characters lack depth. I also find some awkward moments, where he tries to "artistically" undermine his movies, confusing.
Um terror psicológico arrebatador, melancólico ao extremo e onde cada pequenino detalhe é constituinte vital. Nada fáceis, os últimos dias de Laura Palmer refletem questões profundas na vida da jovem em sua luta solitária contra um mal imperscrutável. Lynch se mostra um gênio sensível não só com o roteiro e a direção, mas também com a imagética surreal e a sonoplastia cacofônica do filme.