Film Review: Pacific Rim Uprising (dir. by Steven S. DeKnight)

Moving to directing isn’t always smooth

Pacific Rim Poster

.Duel was a success for Steven Spielberg, and Alex Garland had a wonderful success with Ex Machina. Conversely, Cinematographer Wally Pfister’s Transcendence wasn’t as well received. Though he has worked on TV, Pfister hasn’t had a motion picture follow-up (though I’m eager to see him do so). Everyone moves in different directions and at their own pace. Steven S. DeKnight is well-known for his work on Daredevil and the Spartacus series on Starz. He makes the leap to directing with Pacific Rim Uprising, the results of which are a mixed bag for me. I saw the original four times in the cinema. Uprising has some fun moments, most of them with John Boyega (John Boyega, Star Wars: The Last Jedi) and Cailee Spaeny (The Shoes), but it wasn’t particularly memorable for me. I don’t know if I could actually say I hated it. That doesn’t mean that the kids won’t love it. There are some good moments of action that are reminiscent of Saban’s Power Rangers, and the movie provides exactly what it advertises – Jaeger on Kaiju action.

Uprising takes place ten years after the end of Pacific Rim, focusing on Jake Pentacost (John Boyega, Star Wars: The Last Jedi) son of the now legendary Stacker Pentacost. The world has moved on from the Kaiju crisis in various ways. When a new threat looms on the horizon, Jaeger pilots are needed once again. Jake would rather not get involved, plowing his trade as Jaeger tech smuggler. When he meets up with Amara Namani, a young hacker (Spaeny), both are brought into the newest rendition of the Jaeger Program. This also leads to a family reunion of sorts with Jake’s sister, Mako Mori (Rinko Kikuchi), who now heads the program. We even have our favorite scientist duo returning in Gottlieb (Burn Gorman, Game of Thrones) and Geiszler (Charlie Day). With all this familarity, you’d think that more of the same is the perfect recipe for a sequel.

The plot could have used a little more development, at least in comparison to the first firm. Uprising does stand on its own, and I could see some interesting arcs develop in future films. My problem with it was just that I didn’t feel a sense of worry for anyone. In the first film, there was this sense of escalation. Every incident was increasingly more dangerous for everyone involved. I didn’t quite feel that this film, but it makes up for it for having some interesting action scenes. DeKnight keeps the scenes short and sweet, and the flow of the movie is quite good, despite the lack of fights. Those moments are few and far between, which kind of left me a little drowsy waiting for them.

From a character standpoint, the real gems in Uprising are Jake and Amara. Boyega and Spaeny are great in just about every scene they’re in. Scott Eastwood isn’t bad either, actually, though he really isn’t given much to work with. Everyone else appears to be filling in roles. While it would’ve been nice to see more characterization in the rest of the crew, they do what they need to in order to keep the story moving.

Visually, Pacific Rim Uprising hits all the right notes. The Kaiju are strange and the Jaegers are impressive. The action moves in such a way where you’re not too lost with what you’re viewing. If there are any problems in this area, it’s that they appeared too clean (and that’s just a nitpick, really). Where the Original used nighttime or rainy shots to mask the effects (much like the first T-Rex encounter in Jurassic Park), most of Uprising’s effects are in broad daylight. It looks great, but also had a HDR quality to it that (for me) felt like you were watching a high end demo reel. The 3D also helped with the effects there.

Overall, I’d easily catch Pacific Rim Uprising again once it hits the digital circuit. It might be worth the viewing on an IMAX screen or even in 3D, but it isn’t anything anyone needs to rush to see.

The Deadpool 2 Full Trailer

Unless we’re dealing with a story like The Lord of the Rings, where the second film is just a placeholder for the more epic finale, a sequel usually comes with a great deal of responsibility. It has to be larger in scope, with more of everything. If we’re lucky, the audience will be fully invested in the story arc as we watch our favorite characters return to face greater challenges.

Or sometimes, a sequel just needs more of what worked for the first film.

Deadpool 2 ups the ante, building on 2016’s promise to include Cable (played by Josh Brolin, doing a lot of work for Marvel these days), more gunfire, swordfights and explosions. Ryan Reynolds returns as our favorite Merc with a Mouth, with a new trailer free of unfinished special effects.  If the first movie made DMX’s “X Gonna Give It To Ya” or Salt ‘N’ Pepa’s “Whatta Man” its theme songs, this new trailer will do the same for LL Cool J’s classic “Mama Said Knock You Out”. YouTube is already chock full of “Deadpool 2 brought me here.” comments for the song.

Reynolds and Company know what they’re doing.

This time around, it appears that Deadpool has to protect a child (much like Logan) pursued by the time travelling mutant Cable. Though we don’t know the reasons behind this, we see Deadpool is forced to create a fighting team of his very own in X-Force. I can imagine Deadpool’s creator, Rob Liefield, is definitely proud of seeing his characters from the 1991 comic series finally brought on to the big screen.

In addition to Brolin, Deadpool 2 adds Atlanta’s Zazie Beetz as Domino. Most of the cast from the first film are back – Morena Baccarin (Vanessa), TJ Miller (Weasel), Leslie Uggams (Blind Al), Brianna Hildebrand (Negasonic Teenage Warhead), and even Karan Soni (Dopinder, who I hope has progressed in his relationship with his love interest, Gita).

David Leitch (John Wick, Atomic Blonde) takes over the directing duties from Tim Miller. I’m personally excited for that, having enjoyed his previous films. This should give the movie a different feel from the original.

Deadpool 2 premieres in cinemas on May 18th, 2018, giving audiences enough time to come off of their Avengers: Infinity War highs and enjoy.


Teaser Trailer – Venom

You’ve heard of Venom, haven’t you?

Remember Spider-Man 3, and that weird character Topher Grace played? Or maybe you’ve read the comics over time, played the character in countless videogames? With the latest teaser trailer for Venom, Sony is betting that you already know the character so well that they don’t have to show him or his name. He’s just that popular, and you should already know. Unfortunately, the trailer isn’t that thrilling (not to me, anyway). It’s not a teaser unless you tease something, and all I’ve truly seen are tidbits that could be pulled from any other movie Hardy’s ever done. I feel like Venom pulled on purpose what the Deadpool 2 Teaser joked about, with the CGI not being ready. I sure hope that isn’t the case.

Of course, we’ll need to get a little more and hope that some of the basic questions are answered here. Former Daily Bugle worker Eddie Brock (Tom Hardy) will don the suit made from an alien symbiote, but will Spider-Man be seen or mentioned? The worst mistake they could do here is to give Venom a story without at least touching or hinting on Spider-Man’s existence. Still, it’s just a teaser, and perhaps way too early to form any conclusion.

Venom, starring Tom Hardy and Michelle Williams will be released in theatres this October 5th.

Deadpool, Meet Cable (A Teaser)

“Well, that’s just lazy writing.” Ah, good old Wade Wilson.

Fox just dropped a teaser trailer for the Deadpool Sequel (which doesn’t really have a name at this point other than maybe Deadpool 2). This one focuses on Cable and shows off some of his combat abilities. It looks like everyone’s back on board here, with Deadpool breaking the 4th wall, as usual.

Deadpool 2 will be in cinemas this May.

Teaser Trailer – Sicario 2: Soldado

2015’s Sicario snuck up on audiences with a quiet October release and a big impact. Strong performances and great visuals (by way of director Denis Villeneuve and legendary cinematographer Roger Deakins) lead the way on the film. I loved that movie. Personally, I didn’t expect a sequel to this one, but am a little curious about where Sicario 2: Soldado may go. Neither Emily Blunt (Girl on the Train) nor Daniel Kaluuya (Get Out) appear for this one, but it’s okay. Academy Award Winner Benecio Del Toro reprises his role as Alejandro, an agent who is more than what he seems, as he and Josh Brolin’s Matt Graver are on the hunt against drug cartels.

Something surprising I found out about this. Both films were written by Taylor Sheridan, who also had a stint on FX’s Motorcycle crime drama Sons of Anarchy (one of my favorite shows), where he played Deputy Chief David Hale. Sheridan was also earned a Best Original Screenplay Nomination for 2016’s Hell or High Water. With most of the acting team and the writer on board, Soldado could work out.

Stefano Sollima, best known for Italy’s crime series Gommorah, takes over the directing duties here. Dariusz Wolski will be handling the cinematography, fresh off of Ridley Scott’s last four films (All the Money in the World, Alien Covenant, The Martian and Exodus: Gods and Kings).

Sicario 2: Soldado opens in June 2018.

Quick Review: King Arthur – Legend of the Sword (dir. by Guy Ritchie)

KingArthur-LegendoftheSwordUsually, when I go to the movies, I either eat before I get there, or after the movie is done. This way, I don’t have to get up at all and miss anything. If it’s a film I’ve seen before, I’ll take the weakest part to use as a bathroom / food break, if I have to go. It’s one way I can tell if I like what I’m watching.

I got up twice for King Arthur: Legend of the Sword. Once to go downstairs and get a popcorn and drink, and a second time for a free refill. I even left my stuff behind in my chair for anyone to take on the second trip out. That’s how low my interest in this film fell after about 30 minutes in. I trusted the fates not to have someone steal my motorcycle jacket (keys, gear and all) to take a break from this film.

This may not be the best review to read about King Arthur: Legend of the Sword.

The Arthurian Legend has been captured in film a number of times. The Last Legion, First Knight, Monty Python and the Holy Grail, Excalibur (my personal favorite), and most recently, Antoine Fuqua’s King Arthur starring Clive Owen. There’s nothing wrong with a retelling of the story, but Guy Ritchie’s King Arthur: Legend of the Sword is all over the place and feels like it has nothing to do with the legends. This isn’t anything against Ritchie. I own Rock-N-Rolla and Sherlock Holmes: A Game of Shadows and I loved Snatch. King Arthur was just off to me. Even the Sherlock Holmes films seemed more grounded than this one does. None of the actors are truly able to save this film, and a few people actually left in the middle of my showing. It’s not the worst thing I’ve ever watched, but Ritchie’s made better films than this.

Granted, I didn’t really walk in with a lot of expectations. The film had it’s release date changed, being sandwiched right between Guardians of the Galaxy Vol. 2 the week before and Alien: Covenant the week after. It really didn’t have a chance, though I thought maybe it could at least hold the weekend. On the other hand, the movie did feel like a lot of the sword and sorcery films I grew up with in the ‘80s, such as Hawk The Slayer, Beastmaster, Ridley Scott’s Legend, The Sword & the Sorcerer, hell, even Barbarian Queen. In that sense, I might say that the film holds up. If you’re not trying to compare it with anything Arthur/Camelot related, you may actually enjoy it.

Legend of the Sword is the story of Arthur (Charlie Hunnam), who needs to save his land from the evil King Vortigern (Jude Law) after reclaiming the great sword Excalibur. I could say more, but I’d give too much away. He’s aided by his friends, Sir Bedivere (Djimon Hounsou) and Goosefat Bill (Aidan Gillen), along with a Mage (Àstrid Bergès-Frisbey) that takes the place of Merlin, who’s absent here. Everyone’s performances are okay, particularly Law and Gillen, who chew up any scene they’re in. Hunnam does just as good with what he’s given, but his Arthur is a bit of an ass at the start. Everyone seems to enjoy what they’re doing here. Even David Beckham gets a moment as a henchman. Of them, the only character I really cared about was Goosefat Bill. Aiden Gillen can play the hero, and play one well.

To his credit, Guy Ritchie’s direction is as quick and sharp as it ever was. When there’s action, it’s fast and fluid. You’ve got great running sequences, and giant CGI animals. Even the swordplay is fun, particularly when Excalibur is involved (those are really the best parts). It’s stylish, and looks awesome in some scenes. The dialogue is rapid, with quick cuts along whole segments. It’s what we’ve come to know and expect from Guy Ritchie. Though it worked well for his modern crime films, it come across as being a little disjointed here. I was hoping for King Arthur, not Underworld Boss Arthur who could be Robin Hood, along with his would be Merry Men of Sherwood Forest.

While I’m not saying that every element of the Arthur tale needed to be expanded upon, Legend of the Sword suffers from a few jump cuts that say “Don’t worry about all of this info, just know we reached point B from point A.” It’s efficient, but also turns the entire tale into a Cliffs Notes / Wikipedia summary. The film moves that quick. The film is peppered with these abbreviations that’s supposed to move the narrative along, but does this so fast that you almost have a tough time believing this movie was actually 2 hours long. I’m not asking for Hamlet, but at least allow your characters to flourish or grow or gain something about them that’s endearing. I’ll also admit to having a short attention span, it’s not that short that it requires quick-cut bursts to keep me enthralled.

Overall, King Arthur: Legend of the Sword was a miss for me. If you have to catch it, you may want to wait for the VOD edition.

TV Review: Twin Peaks 2.21 “Miss Twin Peaks” (directed by Tim Hunter)

Twin Peaks

Here we go, with the second to last episode of the season.

“Miss Twin Peaks” starts with Leo (Eric Da Re), chained up as punishment for attacking Windom Earle (Kenneth Welsh – The Day After Tomorrow). While chained, he unlocks the chains for Major Briggs (Don Davis), and sets him free.

“Save Shelly.” he whispers, as Major Briggs rises to his feet and wanders off. Some time later, Windom Earle returns, asking how Briggs escaped. He would normally use the taser user he has on Leo, but has come up with a better idea – a better game – one that involves a bag of something he shakes with a sinister smile. A bag, worse than electricity? Doesn’t seem so bad, so far.

We cut to the Double R Cafe, where Norma presents some pies to Annie (Heather Graham – Horns, The Hangover) and Shelly (Madchen Amick) for the Miss Twin Peaks event. She tells them that she expects to see them in the Winner’s Circle. The pagent would be good for the town, to heal over the loss of Laura Palmer (Sheryl Lee). When asked if the town will honor her on the 20th Anniversary of her Miss Twin Peaks win, Norma laughs it off as bribery, as she’s a judge this year.


At the Great Northern, a barefoot Audrey Horne (Sherilyn Fenn) is sitting by the fire and dressed in red, a very subtle suggestion to her being a new woman. Ben (Richard Beymer) steps into the room with a series of books in each hand. He tells her they are the collected religious works of the world – The Bible, The Koran, The Talmud, The Tao-Te-Ching, among others. He carries these in the hopes that he’ll find the good within himself on reading them, but in explaining this to Audrey, she appears distracted. He notes this to be because of Jack (Billy Zane), who’s flown off to Brazil. She still misses him fondly, and fears she’ll never see him again. Ben promises her she will, but Audrey waves it off.

Changing the subject, Audrey informs her father that there’s a connection between the bank and the Packards, which Ben will look into. Ben asks Audrey if she’s considered joining the Miss Twin Peaks Pageant. Although Audrey scoffs at the idea, Ben explains that they could use the Pageant to voice the town’s concerns over preserving the wildlife and the Horne family plans. She reluctantly agrees to do so.

Meanwhile, Andy (Harry Goaz) is in the precinct, staring at the drawing recreation from the Owl Cave. Agent Dale Cooper (Kyle MacLachlan) explains to Truman (Michael Ontkean) that on the night of Josie’s (Joan Chen – Demolition Man) death, he saw BOB (Frank Silva) appear. He theorizes that perhaps Josie’s fear is what attracted BOB, and ultimately caused her death. Listening in via the hidden mic in the room, Windom Earle now has what he needs. If he can reach the Black Lodge and BOB, his vengeance against Dale Cooper will be complete. He celebrates this briefly, and we can see that the bag he had is now empty. As he approaches Leo, he bids him farewell, telling him he liked him, but that he has to pay for letting Briggs free.


We follow a line of string that appears to be tied to Leo’s teeth, going up and over him and leading to a box full of tarantulas! Nope! Nope, a million times, Nope. I would have rather Windom Earle just set the cabin on fire and leave Leo inside. Poor Leo. Yeah, he was a douche, but even he didn’t deserve all that, whatever his fate becomes.

A dance rehearsal for the Pageant. Donna and Shelly can’t help but laugh at all of the awkward positions that Tim Pinkle (David L. Lander) has the girls doing, while Nadine (Wendy Robie) and Lucy Moran (Kimmy Robertson) are upset at it all. Tim has a tiny loss of composure when questioned about his methods. Lana (Robyn Lively) appears to be really into it, however, probably under the impression she’s already won. She also happens to be the only dancer in heels, for some reason.


The judges – Norma, Mayor Dwayne Milford (John Boylan), and Dick Tremayne (Ian Buchanan) are looking on. Norma has to step away to handle some business, which leaves just the right opening for Lana to step in and improve her chances on becoming Miss Twin Peaks She mentions there’s something she’s looking for in the storage room, and asks Dick for some help. He joins her in the storage room with a flashlight. Lana’s communication style is through touch (because let’s face it, it’s easier to convince someone of something if there’s the slightest physical contact involved), and through this, she finds what she’s looking for. She doesn’t even need the flashlight to do so.

In Cooper’s room, Cooper records a message to Diane explaining that they’re working hard on the cave etching, and that Windom Earle is looking for the same source that they are. Should it fall into his hands, the ramifications could be disastrous. On a side note, Cooper praises Annie, who he’s very much warming up to.

Annie appears at Cooper’s door. He lets her in and she states she needs help with the Public Speaking part of the contest. Cooper explains that the Ghostwood Development could cause some problems for the town and the wildlife. In the midst of their conversation, Cooper makes a move.

“I don’t want to talk about trees anymore.” He simply says before kissing her. She leads him to his bed and they have a passionate moment together. I hope he remembered to pause his tape to Diane.

We’re watching a home movie, of Nadine and how she tackled Mike Nelson (Gary Hershberger) in wrestling class and fell in love. She and Nadine are in a room with Dr. Jacoby (Russ Tamblyn), Ed (Everett McGill) and Norma. Ed reveals to Nadine that he’s going to get married to Norma. Nadine’s stare is intense, but she smiles through it, holding on to Mike’s hand a little too tightly.

“Really?! Well that’s wonderful Eddie, ‘cause me and Mike are getting married, too!”, she says. You can hear the bones in Mike’s hand crack, and he wails in pain.

Major Briggs stumbles through the forest, finally making it to a road. He arrives just in time for Hawk (Michael Horse) to almost hit him with his Patrol Truck. Hawk gets out and puts Briggs into the truck.

The next scene has Briggs shivering and drinking water. It’s almost the same kind of shiver that Pete had. Cooper inspects Briggs and notes that he’s been shot full of Haloperidol, the same drug that the One Armed Man used to keep MIKE at bay. They try to find out where Windom Earle took Briggs, but they can’t get much from him. Andy comes back into the room, checking on the pictograph. Cooper says that if they aren’t at the right place at the right time, they might be able to find their way into the Black Lodge.

Catherine Martell (Piper Laurie), Pete (Jack Nance), and Andrew (Dan O’Herlihy) are trying to open the little box that was inside of the original black box given to Catherine. After a bit of frustration, Andrew throws the tiny metal box to the ground and shoots it with his revolver. This breaks the mini box open and reveals a key. Catherine puts the key inside a glass cake container, in full sight so that no one will steal it.

Donna comes downstairs in the Hayward house, dressed for the Pageant. She confronts her parents, demanding to know what the deal is between her mom (Mary Jo Deschanel) and Ben Horne. The parents won’t tell her, so she decides to get her answers from Ben.

Back at the precinct, Cooper realizes that one element was misread. He’s able to deduce that the map refers to Jupiter and Saturn coming into conjunction. They also learn that entering the portal requires Fear and/or Love (“Fear and Love open the doors.”, Briggs mumbles). If Windom Earle takes the Queen – in this case, Miss Twin Peaks – to the doorway, he should be able to get it to open. At least, that’s what I made of it. As they discuss this, Andy has a relegation, but is unable to share it, as Andy knocks over the bonsai plant. The plant breaks, and reveals Windom Earle’s bug. Now aware that he’s been listening in the whole time, Cooper, Truman and Andy head over to Miss Twin Peaks Pageant.

Here we are at the Miss Twin Peaks Pageant. The ladies of Twin Peaks are having an opening dance number. The show is underway, and there are a number of things occurring. Bobby Briggs (Dana Ashbrook) notices the Log Lady (Catherine E. Coulson) sitting by the bar, but then also notices her standing about 30 feet near him, by the restroom. When Bobby approaches the log lady by the door, we find it’s actually Window Earle, who bonks him on the head with his log, knocking him out.


Meanwhile, Lucy is dancing on stage. For someone due to have a baby in less than a year, she handles herself well on stage. Cooper and Truman arrive, and Truman notes that they have deputies surrounding the place. After her number is Lana’s, which is a bellydance that entrances the audience and the male judges. Lana’s gaze is focused primarily on Dick and Dwayne as she dances. Andy arrives on the scene, looking for Cooper to tell him what he was unable to say before.

Audrey gives a short speech on fighting for the environment, before leaving and seeing her dad before heading back out. Backstage, Donna confronts Ben, and asks him for the truth. We all learn that she is in fact Ben Horne’s daughter and Audrey’s half-sister. She runs off in tears before any major explanation can be given.

Annie gives a moving speech, one that catches Dick’s attention. Audrey also has a great speech. Lucy meets with Dick and Andy backstage to inform them that Andy will be the father of her child. Andy is surprised, and Dick is elated. Andy promises to be a great father, but he has to locate Cooper, and he leaves her standing there. It’s a humorous moment in the mix of everything.

The announcement is underway. The winner and the new Miss Twin Peaks is…..Annie Blackburn!! There’s applause from the crowd as Annie accepts her award. Lana peeks out from behind the crowd to stare at Dwayne as if to say “What happened?”.  Dwayne turns to Dick and asks him about the vote. Dick replies that Annie’s speech won him over.

The lights suddenly go out, and then flicker like a strobe. Very similar to Brian DePalma’s Carrie, we have pandemonium as everyone tries to evacuate. Nadine, standing under a ladder, is hit on the head with a sand bag, knocking her unconscious. Cooper catches sight of Windom Earle, but in trying to reach him, Earle sets of a flashbang that disorients Cooper. This gives Earle enough time to capture Annie with some chloroform and get out of the building. When Cooper comes to his senses, he tells Truman, who starts to get a perimeter setup. It’s here that Andy is finally able to reach Cooper and tell him what he found.


The puzzle they’ve been studying isn’t a puzzle at all, but a map!

So now, we come to the Season Finale (and ultimately the Series Finale) of Twin Peaks, which Lisa will close out tomorrow. Can Cooper save Annie? Can he catch Windom Earle? Is Nadine okay? What about Lucy and Andy? What about that blooming key? Will Donna confront all of her parents? Will Leo manage to escape the box of tarantulas? Hopefully, all of these will be answered.

This is my final piece on Twin Peaks. I hope that you’ve enjoyed reading about this show as we have writing about it. A lot of work went into this from different sides. This has been an awesome project to be a part of, and I’d like to give a quick thanks to both Lisa and Jeff for having me on board.

Previous Entries in The TSL’s Look At Twin Peaks:

  1. Twin Peaks: In the Beginning by Jedadiah Leland
  2. TV Review: Twin Peaks 1.1 — The Pilot (dir by David Lynch) by Lisa Marie Bowman
  3. TV Review: Twin Peaks 1.2 — Traces To Nowhere (directed by Duwayne Dunham) by Jedadiah Leland
  4. TV Review: Twin Peaks 1.3 — Zen, or the Skill To Catch A Killer (dir by David Lynch) by Lisa Marie Bowman
  5. TV Review: Twin Peaks 1.4 “Rest in Pain” (dir by Tina Rathbone) by Leonard Wilson
  6. TV Review: Twin Peaks 1.5 “The One-Armed Man” (directed by Tim Hunter) by Jedadiah Leland
  7. TV Review: Twin Peaks 1.6 “Cooper’s Dreams” (directed by Lesli Linka Glatter) by Lisa Marie Bowman
  8. TV Review: Twin Peaks 1.7 “Realization Time” (directed by Caleb Deschanel) by Lisa Marie Bowman
  9. TV Review: Twin Peaks 1.8 “The Last Evening” (directed by Mark Frost) by Leonard Wilson
  10. TV Review: Twin Peaks 2.1 “May the Giant Be With You” (dir by David Lynch) by Leonard Wilson
  11. TV Review: Twin Peaks 2.2 “Coma” (directed by David Lynch) by Jedadiah Leland
  12. TV Review: Twin Peaks 2.3 “The Man Behind The Glass” (directed by Lesli Linka Glatter) by Jedadiah Leland
  13. TV Review: Twin Peaks 2.4 “Laura’s Secret Diary” (dir by Todd Holland) by Lisa Marie Bowman
  14. TV Review: Twin Peaks 2.5 “The Orchid’s Curse” (dir by Graeme Clifford) by Lisa Marie Bowman
  15. TV Review: Twin Peaks 2.6 “Demons” (dir by Lesli Linka Glatter) by Leonard Wilson
  16. TV Review: Twin Peaks 2.7 “Lonely Souls” (directed by David Lynch) by Jedadiah Leland
  17. TV Review: Twin Peaks 2.8 “Drive With A Dead Girl” (dir by Caleb Deschanel) by Lisa Marie Bowman
  18. TV Review: Twin Peaks 2.9 “Arbitrary Law” (dir by Tim Hunter) by Lisa Marie Bowman
  19. TV Review: Twin Peaks 2.10 “Dispute Between Brothers” (directed by Tina Rathbone) by Jedadiah Leland
  20. TV Review: Twin Peaks 2.11 “Masked Ball” (directed by Duwayne Dunham) by Leonard Wilson
  21. TV Review: Twin Peaks 2.12 “The Black Widow” (directed by Caleb Deschanel) by Leonard Wilson
  22. TV Review: Twin Peaks 2.13 “Checkmate” (directed by Todd Holland) by Jedadiah Leland
  23. TV Review: Twin Peaks 2.14 “Double Play” (directed by Uli Edel) by Jedadiah Leland
  24. TV Review: Twin Peaks 2.15 “Slaves and Masters” (directed by Diane Keaton) by Lisa Marie Bowman
  25. TV Review: Twin Peaks 2.16 “The Condemned Woman” (directed by Lesli Linka Glatter) by Leonard Wilson
  26. TV Review: Twin Peaks 2.17 “Wounds and Scars” (directed by James Foley) by Lisa Marie Bowman
  27. TV Review: Twin Peaks 2.18 “On The Wings of Love” (directed by Duwayne Dunham) by Jedadiah Leland
  28. TV Review: Twin Peaks 2.19 “Variations on Relations” (directed by Jonathan Sanger) by Lisa Marie Bowman
  29. TV Review: Twin Peaks 2.20 “The Path to the Black Lodge” (directed by Stephen Gyllenhaal) by Lisa Marie Bowman