Film Review: Cocaine and Blue Eyes (1983, directed by E.W. Swackhamer)


When San Francisco-based private investigator Michael Brennen (O.J. Simpson) gives a ride to Joey Crawford (John Spencer) on Christmas Eve, he doesn’t know that it’s going to lead to the biggest case of his career.  When Joey asks Michael to help him track down his ex-girlfriend, Michael assumes that Joey would never be able to pay for his investigative services.  But one week later, Michael gets something in the mail from Joey.  Inside the envelope, there’s a picture of both Joey’s ex and a thousand dollar bill.  Ever after he discovers that Joey was mysteriously killed the night before, Michael decides to take on the case.  His investigation will take him not only to Joey’s ex but it will also lead to him uncovering a drug ring that involves one of San Francisco’s most prominent families.

Simpson not only starred in this made-for-TV movie but he also served as executive producer.  Watching the movie, it’s obvious that it was meant to serve as a pilot for a Michael Brennen TV series and it’s also just as obvious why that series never happened.  O.J. Simpson was not a terrible actor but, ironically for someone who set records as an NFL player, there was nothing tough about him.  Simpson may be playing a two-fisted, cash-strapped P.I. but, in every scene, he comes across like he can’t wait to hit the golf course.  Simpson’s pleasant demeanor may have served him well in other areas of his life but it didn’t help him with this role.  Whenever Simpson has to share a scene with John Spencer, Candy Clark, Cliff Gorman, or any of the other members of this film’s surprisingly talented supporting cast, Simpson’s bland screen presence and lack of gravitas becomes all the more apparent.

Of course, when seen today, the main problem with Cocaine and Blue Eyes is that it’s impossible to watch without thinking, “Hey, didn’t the star of this movie get away with killing his wife and an innocent bystander?”  Even the most innocuous  of lines take on a double meaning when they’re uttered by O.J. Simpson.  It doesn’t help that the movie opens with Michael visiting his estranged wife and their children on Christmas Eve and getting chased around the neighborhood by a guard dog.  When the movie was made, this scene was probably included so that O.J. could show off some of the moves that made him a star at UCLA and with the Bills.  Seen today, the scene takes on a whole different meaning.

Without O.J. Simpson, Cocaine and Blue Eyes could easily pass for being an extended episode of Magnum P.I., Simon and Simon, or any other detective show from the 80s.  With Simpson, it becomes a pop cultural relic.  I don’t think it’s ever been released on DVD but it is available on YouTube, where it can be viewed by O.J. Simpson completists everywhere.

After The French Connection: Popeye Doyle (1986, directed by Peter Levin)


In this made-for-television movie, a pre-Married With Children Ed O’Neill takes over the role that won Gene Hackman an Oscar.

Popeye Doyle (played by O’Neill) is a hard-drinking, hard-living Irish police detective working out of New York City.  Along with his more emotionally stable partner, Tony Parese (Matthew Laurence), Doyle spends his time busting drug dealers, going on stakeouts, and chasing junkies through the mean streets of NYC.  When Jill, a beautiful young model (Audrey Landers) turns up dead, everyone assumes that it was an overdose.  Doyle, however, has his doubts.  All of her friends say that Jill never used drugs and, when Popeye searches her apartment, he doesn’t find any evidence that would point to her being junkie.  Instead, he finds tapes that Jill made for various wealthy men.  Convinced that Jill was murdered, Popeye is soon investigating the type of powerful people who are not used to being investigated.

In 1986, someone at NBC thought it would be a good idea to launch a series based on The French Connection.  Since Gene Hackman was busy making movies and hadn’t come anywhere close to appearing on television since losing the role of the father on The Brady Bunch to Robert Reed, the role of Popeye was given to Ed O’Neill.  At that time, O’Neill was an unknown who had appeared in a handful of plays, two movies, and one Red Lobster commercial.  The movie, Popeye Doyle, was meant to serve as a pilot for the proposed television series.  Needless to say, the film did not lead to a series.  If it had, Ed O’Neill probably wouldn’t have been available to take the role of Al Bundy on Married With Children.

O’Neill is probably the main reason that anyone today would want to see Popeye Doyle, which is otherwise a routine cop movie.  Except for a few scenes where he seems to be trying too hard to imitate Hackman’s iconic performance, O’Neill brings authentic working class swagger to the role.  He drinks too much, he often says the wrong thing, and he pisses off all the right people.  There are some scenes where O’Neill seems to blend right in with the pilot’s gritty visual style.  (It was shot on location in Ed Koch-era New York.)  There are other scenes where he gets so manic that he seems to be a man possessed.  In the scene where he watches Candy Clark do an impromptu striptease, O’Neill as Doyle gets so excited that you worry about him.  Interestingly, Doyle wanders through the film dressed like a slob and acting like a schlub but every beautiful woman he meets wants to have sex with him.  In that regard, it is easy to imagine the movie as being some sort of elaborate daydream that Al Bundy had while selling shoes.

As for the events in The French Connection, they’re mentioned briefly at the start of the movie, when a reporter asks Doyle about that time he accidentally shot and killed a federal agent.  Popeye Doyle still has many scenes that are meant to remind viewers of the first film.  There’s a stakeout scene, where Doyle and Parese sit out in the cold while their target enjoys a nice night.  There’s a scene where Doyle works undercover as a bum.  And, of course, there’s a car chase, though it’s nowhere near as exciting as the one from The French Connection.

Popeye Doyle has never been officially released on DVD (or even VHS), though it is available on YouTube.

Horror Film Review: Buffy the Vampire (dir by Fran Rubel Kuzui)


Watching this movie was such a strange experience.

Now, of course, I say that as someone who grew up watching and loving the television version of Buffy the Vampire Slayer.  Back when Buffy was on TV, I was always aware that the character had first been introduced in a movie but every thing I read about Buffy said that the movie wasn’t worth watching.  It was a part of the official Buffy mythology that Joss Whedon was so unhappy with what was done to his original script that he pretty much ignored the film when he created the show.

So, yes, the 1992 movie version of Buffy the Vampire Slayer showed how Buffy first learned that she was a slayer, how she fought a bunch of vampires in Los Angeles, and how her first watcher met his end.  But still, Joss Whedon was always quick to say that the film should not be considered canonical.  Whenever anyone on the TV show mentioned anything from Buffy’s past, they were referencing Joss Whedon’s original script as opposed to the film that was eventually adapted from that script.  (For instance, on the tv series, everyone knew that Buffy’s previous school burned down.  That was from Whedon’s script.  However, 20th Century Fox balked at making a film about a cheerleader who burns down her school so, at the end of the film version, the school is still standing and romance is in the air.)  In short, the film existed but it really didn’t matter.  In fact, to be honest, it almost felt like watching the movie would somehow be a betrayal of everything that made the televisions series special.

Myself, I didn’t bother to watch the film version of Buffy the Vampire Slayer until several years after the television series was canceled and, as I said at the start of the review, it was a strange experience.  The movie is full of hints of what would make the television series so memorable but none of them are really explored.  Yes, Buffy (played here by Kristy Swanson) has to balance being a teenager with being a vampire slayer but, in the film, it turns out to be surprisingly easy to do.  Buffy is just as happy to be a vampire slayer as she is to be a cheerleader.  In fact, one of the strange things about the film is just how quickly and easily Buffy accepts the idea that there are vampires feeding on her classmates and that it’s her duty to destroy them.  Buffy’s watcher is played by Donald Sutherland and the main vampire is played by Rutger Hauer, two veteran actors who could have played these roles in their sleep and who appear to do so for much of the film.  As for Buffy’s love interest, he’s a sensitive rebel named Oliver Pike (Luke Perry).  On the one hand, it’s fun to see the reversal of traditional gender roles, with Oliver frequently helpless and needing to be saved by Buffy.  On the other hand, Perry and Swanson have next to no chemistry so it’s a bit difficult to really get wrapped up in their relationship.

I know I keep coming back to this but watching the movie version of Buffy is a strange experience.  It’s not bad but it’s just not Buffy.  It’s like some sort of weird, mirror universe version of Buffy, where Buffy starts her slaying career as a senior in high school and she never really has to deal with being an outcast or anything like that.  (One gets the feeling that the movie’s Buffy wouldn’t have much to do with the Scooby Gang.  Nor would she have ever have fallen for Angel.)  Kristy Swanson gives a good performance as the film version of Buffy, though the character is not allowed to display any of the nuance or the quick wit that made the television version a role model for us all.  Again it’s not that Buffy the movie is terrible or anything like that.  It’s just not our Buffy!

The TSL’s Horror Grindhouse: Q (dir by Larry Cohen)


This 1982 film from Larry Cohen is a strange one.

Q stands for Quetzalcoatl, a winged-serpent that was once worshiped by the Aztecs.  In New York someone has been performing ritual sacrifices, flaying victims of their skin.  As a result, Q has flown all the way to New York City and has taken residence in the Chrysler Building.  She’s also laid an egg, from which a baby Q will soon emerge.

Now, I’ve always heard that it’s next to impossible to surprise a New Yorker.  Apparently, living in New York City means that you’ve seen it all.  And that certainly seems to be the case with this film because no one in New York seems to notice that there’s a winged serpent flying over the city.  Somehow, Q manages to snatch up all sorts of people without anyone noticing.  When Q beheads a window washer, Detectives Shepard (David Carradine) and Powell (Richard Roundtree) aren’t particularly concerned by the fact that they can’t find the man’s head.  Shepard just shrugs and says the head will turn up eventually.

Q is really two films in one.  One of the films deals with a winged serpent flying over New York and killing people.  This film is a throwback to the old monster movies of the 50s and 60s, complete with some charmingly cheesy stop motion animation.  The film is silly but undeniably fun.  Director Cohen is both paying homage to and poking fun at the classic monster movies of the past and both Carradine and Roundtree gamely go through the motions as the two cops determined to take down a flying monster.

But then there’s also an entirely different film going on, a film that feels like it belongs in a totally different universe from the stop-motion monster and David Carradine.  This second film stars Michael Moriarty as Jimmy Quinn, a cowardly but charming criminal who would rather be a jazz pianist.  Quinn may be a habitual lawbreaker but he always makes the point that he’s never carried a gun.  He does what he has to do to survive but he’s never intentionally hurt anyone.  In Quinn’s eyes, he’s a victim of a society that has no room for a free-thinker like him.

However, when Quinn stumbles across Q’s nest, he suddenly has an opportunity to make his mark.  As he explains it to the police, he’ll tell them where to find the serpent and her eggs.  But they’re going to have to pay him first….

In the role of Quinn, Michael Moriarty is a jittery marvel.  Whenever Moriarty is on screen, he literally grabs the film away from not only his co-stars but even his director and makes it his own.  Suddenly, Q is no longer a film about a monster flying over New York City.  Instead, Q becomes a portrait of an outsider determined to make the world acknowledge not only his existence but also his importance.  After spending his entire life on the fringes, Jimmy Quinn is suddenly the most important man in New York and he’s not going to let the moment pass without getting what he wants.  Thanks to Moriarty’s bravura, method-tinged performance, Jimmy Quinn becomes a fascinating character and Q becomes far more than just another monster movie.

It makes for a somewhat disjointed viewing experience but the film still works.  With its charmingly dated special effects and it’s surprisingly great central performance, Q is definitely a film that deserves to be better-known.

TV Review: Twin Peaks: The Return “Part 6” (dir by David Lynch) (SPOILERS)


It’s time to take another trip into the world Twin Peaks!  Below is my recap of the latest episode.  Along with reading my thoughts, be sure to check out Ryan’s review of the episode as well!  And, if you want to see where my mind was immediately after the end of Part 6, check out my initial thoughts here!

I have to admit that I cringed a little when Part 6 opened with Cooper/Dougie (Kyle MacLachlan, of course) still staring at that statue.  It was an image that was somehow both touching and annoying.  There’s an innocence to Cooper/Dougie that makes you want to protect him and, at the same time, it’s hard not to want the old Cooper back.  No matter what, I do have to admire David Lynch for having the courage to take the risk of maintaining such a leisurely pace when it comes to telling this story.  It goes against all conventional wisdom.

After coming across Dougie/Cooper still staring at the statue, a friendly police officer takes him home.  (Dougie/Cooper is obsessed with the officer’s badge and can still only identify his house by using the red door.)  Janey-E (Naomi Watts) has finally reached the point where she’s willing to accept that Cooper/Dougie needs to see a doctor but she still seems to be in denial about just how strange her “husband” is acting.  If anything, the Cooper/Dougie storyline demonstrates the lengths that some people will go to in order to pretend that everything’s normal.

Dougie/Cooper is sent upstairs, by Janey-E, to say goodnight to Sonny Jim (Pierce Gagnon).  This leads to a genuinely sweet scene, in which Sonny Jim and Dougie/Cooper take turns clapping their hands and making the lights go out and come back on.

However, that fun is interrupted by Janey-E.  While going through the file that Dougie/Cooper brought home from work, she comes across an unmarked brown envelope.  Inside is a picture of Dougie with Jade (Nafessa Williams).  Janey-E realizes that not only has Dougie/Cooper not paid the money that he owed the loan sharks but that he’s also been seeing a prostitute.  “You are in the dog house, mister!” she shouts.  Dougie/Cooper, on the other hand, is just happy to see a picture of Jade.

“Jade,” he smiles, remembering that she once gave him a ride to a casino.  (“Jade gave two rides,” Dougie/Cooper says, blankly.)

Suddenly, the phone (a landline!) rings.  “Maybe it’s Jade calling!” Janey-E snaps.

“Jade,” Dougie/Cooper smiles.

Janey-E answers and discovers that it’s the loan sharks calling.  They want their money.  Janey-E tells them that there’s no way that Dougie/Cooper is going to be able to pay, especially if they do the typical loan shark thing and break his legs.  (Naomi Watts, incidentally, totally kicks ass in the role of Janey-E.)  Janey-E agrees to meet with Dougie/Cooper’s “friends” the next afternoon.

“Tomorrow’s a big day!” Janey-E snaps at him.

“Big day,” Dougie/Cooper agrees.

“Yes, sweetheart,” Janey-E agrees.

Meanwhile, somewhere — perhaps in Twin Peaks — a green light turns red and there is the sound of electricity.  In the Black Lodge, One-Armed MIKE (Al Strobel) walks with his one arm raised to the air.

Suddenly, MIKE appears in Dougie/Cooper’s living room.  “You have to wake up!  Wake up!  Don’t die.  Don’t die!  Don’t die!” he tells Dougie/Cooper before vanishing.  Dougie/Cooper responds by drawing what appears to be a ladder and steps on his work files.  It’s hella creepy.

Cut to Albert Rosengfield (Miguel Ferrer) driving through the rain.  (Is he in New York?  That’s what I assumed, mostly because I assume all big, unnamed cities are meant to be New York.)  After parking his car and getting out in the rain, Albert struggles with umbrella and then shouts, “Fuck Gene Kelly!  You motherfucker!”  It’s a funny line but also a sad one, as it reminds us of the great actor we lot when we lost Miguel Ferrer.

Albert steps into a trendy bar.  He approaches a blonde woman at the bar.  “Diane?” he says.  She turns around.  OH MY GOD, IT’S LAURA DERN!

(Yes, after 25 years, we’ve finally met the Diane that Cooper always spoke of.  Even better, she’s played by the one living performer — Jack Nance, sadly, is no longer with us — who is as closely linked to David Lynch as Kyle MacLachlan.)

Laura Dern as Diane

Cut to Twin Peaks.  At a lumber yard, psycho Richard Horne (Eamon Farren) has apparently just snorted the greatest cocaine ever.  He’s at a meeting with Red (Balthazar Getty) and several heavily armed men.  Apparently, Red is the new Twin Peaks drug lord.  (I guess the Renault family has gotten out of the game.)  Red says that he’s been in town for a few weeks and he likes it.  (During Part One, we briefly saw Red at the Roadhouse, making eyes at Shelley.)

Red is a typically talkative David Lynch drug dealer.  He says that he has problems with his liver.  He wants to know if Richard has ever really studied his hand.  Red talks about how much he likes The King and I.  In between all the random comments, he worries that Richard doesn’t have his drug use under his control and then says, “I’m going to be watching you, kid.”

“Don’t call me kid,” Richard says.

Red thinks that’s the funniest thing he ever heard.  Red also explains that, if Richard screws up, he’ll saw open Richard’s head and eat his brains.  Red does an elaborate magic trick with a dime, flipping it into the air where it apparently hangs in suspended animation before briefly appearing in Richard’s mouth.  Richard pulls the dime from his mouth, just to have it disappear from his hand.  Suddenly, the dime falls into Red’s hand.  Red explains that the dime represents the two of them.  “Heads, I win,” Red explains, “tails you lose.”

(Balthazar Getty is totally and completely chilling as Red.  He’s certainly a better actor now than he was when he made Lost Highway.)

Anyway, Richard doesn’t take this well because, in the very next scene, he’s driving his pickup truck, crying, and screaming, “Fuck you, man!”

Meanwhile, at a nearby trailer park, Carl (Harry Dean Stanton) is starting his day.  (You may remember Carl as the trailer park manager from Twin Peaks: Fire Walk With Me.  Apparently, he’s moved to Twin Peaks.)  Carl, who says he’s mostly just waiting for die, is driven into town by a friend.  Accompanying them is a man (Jeremy Lindholm) who talks about his wife, Linda.  She’s in a wheel chair and the man says that it’s taken forever for the government to send them their money.

“Fucking war,” Carl says, “Fucking government.”

(Damn straight, Carl!  Also, remember in Part One, the Giant told Cooper that he needed to find Richard and Linda.  Well, we’ve already met Richard Horne and, in this episode, we learned about Linda.  But are the same Richard and Linda that Cooper needs to find?)

At the Double R, we discover that apparently there hasn’t been any staff turnover in 25 years.  Shelley (Madchen Amick) is ringing up customers.  The German waitress is still taking orders.  A customer named Miriam (Sarah Jean Long) says that she loves Double R coffee.  She’s a teacher.  “The kids this year are so cute!” she says.  There’s much giggling.  Surely, nothing bad could possibly be about to happen with all of this happiness going on…

Uh-oh, Richard’s still driving and yelling.  “I’ll show you a kid!” he shouts, slamming down on the accelerator.  Damn, Richard — is that any way for a Horne to behave!?

Carl sits in a park and stares up at the trees.  He watches a mother playing with her young son.  He smiles at them.  Carl appears to have calmed down considerably over the past 25 years.

Richard, being the worst human being ever, runs a stop sign.  Well, what could go wrong on such a beautiful day, right?  I mean it’s not safe but — OH SHIT, RICHARD JUST RAN OVER THE KID!  And then he keeps on driving, all the while screaming that it’s not his fault!  While he’s yelling, he suddenly realizes that Miriam — who is standing outside of the Double R — has seen his truck and his face.

Meanwhile, the mom is left cradling her dead son, while a group of onlookers stare at them.  Carl runs out to the street and sees a yellow flame (the boy’s soul, maybe?) floating into the atmosphere.  Of all the witnesses, only grizzled old Carl attempts to provide any comfort to the sobbing mother.

As the scene ends, the camera zooms in on the power lines.  We hear the crackling of electricity.  Remember how Killer BOB was always connected to electricity during the show’s initial run?

In Las Vegas, Duncan Todd (Patrick Fischler) sees a large red square on his laptop.  He gets an envelope out of a cabinet and puts it on his desk.  The envelope has a black dot on it.  (In case you’ve forgotten, Todd appeared briefly during Part 2.  He’s a Vegas business executive who apparently is in some sort of debt to some powerful and frightening people.)

At Rancho Rosa, the cops are looking over the remains of Dougie’s car, which exploded last episode.  One cops find the license plate on the roof of the house.  Meanwhile, across the street, Druggie Mom (Hailey Gates) chants, “One one nine!  One one nine!”

At a motel, a little person named Ike “The Spike” Stadtler (Christophe Zajac-Denek) sits at desk and plays with some dice.  Why is he called The Spike?  Well, we’re about to find out.  Someone slips an envelope under his door.  (It looks like the same envelope that was on Duncan’s desk.)  Inside the envelope are pictures of Dougie and Lorraine (Tammy Baird), the woman who was previously hired to kill Dougie.

Meanwhile, Dougie/Cooper is back at work.  He’s got his big case file with him.  Unfortunately, his boss, Bushnell Mullins (Don Murray) is not impressed with Dougie/Cooper’s ladder drawing.  “Look at all of these childish scribbles,” he says, “how am I going to make any sense of this?”

“Make sense of it,” Dougie replies.

(Judging from the poster in his office, Bushnell was once a professional boxer.)

Suddenly, after looking at a few more of Dougie/Cooper’s drawings, Bushnell says, “Dougie, thank you.  I want you to keep this information to yourself.  I’ll take it from here but I may need your help again.”  Bushnell smiles.  “You’ve certainly given me a lot to think about.”

“Think about,” Dougie/Cooper replies.

“You’re an interesting fellow,” Bushnell says.

Meanwhile, Janey-E meets with the two men who claim that Dougie owes them money.  They explain that Dougie put a bet on a football game and lost.  They try to be intimidating but they don’t know who they’re dealing with.  Janey-E doesn’t have any time for their crap and she’s not afraid to let them know it.  She’s especially not impressed with their claim that Dougie owes them $52,000 when the bet was only for $20,000.

Nope, Janey-E’s not having it.

“We are not wealthy people!” Janey-E snaps, “We drive terrible cars!  We are the 99 per centers and we are shit on enough and we are certainly not going to be shit on by the likes of you!”  (If this seems surprisingly political for the normally apolitical David Lynch, it’s worth remembering that the script was co-written by Mark Frost, who is far more outspoken politically.  As a general rule, overly political stuff bores me to tears but Naomi Watts really kicks ass in his scene, totally selling every line.)  Janey-E gives them $25,000 and tells them to go away.

“What kind of a world are we living in where people can treat each other like this!?”  Janey-E says, before driving away.  “We are living in a dark, dark age.”

Meanwhile, Ike attacks Lorraine in her office and, in a disturbingly graphic scene, stabs her and at least two other women to death with a spike.  (Hence, his nickname.)

Back in Twin Peaks, Richard parks his truck in a field and tries to clean off the boy’s blood.

In the Sheriff’s Department, Deputy Hawk (Michael Horse) is in the men’s room when he sees a dime roll across the floor.  He follows the dime into a stall and, after picking it up, sees a metal sign proclaiming that the stall was built by Nez Perce Manufacturing.  And apparently, Nez Perce’s logo is a Native American chief.  Hawks sees that the top of the door is split open.  Hawk splits the door open further and finds several pieces of paper.

Meanwhile, Doris Truman (Candy Clark) comes by and yells at Frank (Robert Forster).  Doris is upset because her father’s car is not running right.  “Why are you always against me!?” Doris demands.  The other deputies say they wouldn’t put up with Doris but Maggie (Jodi Thelen) tells them that they don’t know what they’re talking about.  Doris, Maggie explains, changed after their son committed suicide.

“I know that,” one of the deputies says, mockingly, “he couldn’t take the pressure of being a soldier.”

(Is it possible that the death of Truman’s son — who it sounds like may have had PTSD — could be related to Linda, who — judging by Carl’s comments about the “fucking war” — may have been wounded while serving in the Army?)

And we close out with another haunting musical performance at the Roadhouse, the week courtesy of Sharon Van Etten.

Twin Peaks on TSL:

  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
  30. TV Review: Twin Peaks 2.21 “Miss Twin Peaks” (directed by Tim Hunter) by Leonard Wilson
  31. TV Review: Twin Peaks 22.2 “Beyond Life and Death” (directed by David Lynch) by Lisa Marie Bowman
  32. Film Review: Twin Peaks: Fire Walk With Me (dir by David Lynch) by Lisa Marie Bowman
  33. Here’s The Latest Teaser for Showtime’s Twin Peaks by Lisa Marie Bowman
  34. Here’s The Newest Teaser for Showtime’s Twin Peaks by Lisa Marie Bowman
  35. 12 Initial Thoughts About Twin Peaks: The Return Parts One and Two by Lisa Marie Bowman
  36. This Week’s Peaks: Parts One and Two by Ryan C. (trashfilm guru)
  37. TV Review: Twin Peaks: The Return Parts One and Two (dir by David Lynch) by Lisa Marie Bowman
  38. 4 Shots From 4 Films: Special Twin Peaks Edition by Lisa Marie Bowman
  39. This Week’s Peaks: Parts Three and Four by Ryan C. (trashfilm guru)
  40. 14 Initial Thoughts About Twin Peaks: The Return Part Three by Lisa Marie Bowman (dir by David Lynch)
  41. 10 Initial Thoughts About Twin Peaks: The Return Part Four by Lisa Marie Bowman (dir by David Lynch)
  42. TV Review: Twin Peaks: The Return Parts Three and Four (dir by David Lynch) by Lisa Marie Bowman 
  43. 18 Initial Thoughts About Twin Peaks: The Return Part 5 (dir by David Lynch) by Lisa Marie Bowman
  44. This Week’s Peaks: Part Five by Ryan C. (trashfilm guru)
  45. TV Review: Twin Peaks: The Return: Part 5 (dir by David Lynch) by Lisa Marie Bowman
  46. 14 Initial Thoughts On Twin Peaks Part 6 (dir by David Lynch) by Lisa Marie Bowman
  47. This Week’s Peaks: Part Six by Ryan C. (trashfilm guru)

TV Review: Twin Peaks: The Return Part 5 (dir by David Lynch)


Well, there’s one thing that you can definitely say for sure about not only Twin Peaks but also about every other film that David Lynch has ever made.  (And make no mistake — they may be calling this the third season of Twin Peaks but it’s obviously meant to be more of an 18-hour film than a traditional television series.)  Lynch moves at his own pace.  He knows where he’s going but, often, he doesn’t seem to be in any hurry to get there.

And, quite frankly, that can sometimes to be frustrating.  David Lynch requires patience on the part of the viewer and a willingness to have faith in his ability as an artist.  To a certain extent, the modern world almost seems to be set up to make things as difficult as possible for an artist like David Lynch.  We’re used to things being fast-paced.  We’re used to having immediate (if superficial) answers to any and all questions.  In a time when movies are dominated by hyperactive editing and overwhelming soundtracks, David Lynch has the courage to portray moments of silence and stillness.  It’s what sets him apart from other filmmakers.  It’s also the reason why this critically acclaimed director has always struggled to get his films made.  In 41 years, David Lynch has had ten films theatrically released.  Michael Bay directed his first film twenty years after the release of Eraserhead and he has gone to direct twelve more.

Part 5 of Twin Peaks is a perfect example of Lynch’s deliberate pace.  As I watched it, I found myself occasionally saying, “When is Cooper going to get normal again!?”  I mean, Kyle MacLachlan is doing great work as Dougie/Cooper but how many more times am I going to have to watch him get confused over the need to urinate?  That’s a joke that’s getting old.

Yes, I was frustrated.

But here’s the thing:

As frustrated as I may be by the whole Dougie/Cooper situation, I’m not going anywhere.  I trust David Lynch and, throughout Part 5, there were scenes that reminded me of why I trust David Lynch.  The man is a genius.  I’m thinking of the three women in pink nonchalantly watching as the casino pit boss got beaten.  I’m thinking of the close-up on Amanda Seyfried’s face after she snorted the cocaine.  I’m thinking of Russ Tamblyn ranting.

I will follow David Lynch anywhere.

As for Part 5, it opened with Lynch’s camera prowling through the streets of Las Vegas, a city that seems especially Lynchian.

Out at the Rancho Rosa Development, the two hitmen who were sent to kill Dougie are still sitting outside of the deserted house that Dougie used for his lost weekend with Jade.  They’re watching Dougie’s car.  One of them calls a woman and tells her that they still haven’t seen Dougie.  She does not take the news well.  She sends a message to Argentina, where it is apparently received by a black box sitting in a basin.

In South Dakota, the coroner has found something in the stomach of the body that was found underneath the head of Ruth Davenport.  It’s a gold ring, one that has an inscription: “To Destiny, With Love, James C.”  (I’ve listened to the line about the inscription about a dozen times and I’m pretty sure that’s what the coroner said.  If I’m wrong, please let me know.)

(CORRECTION: According to Dylan Lange, host of Dylan Knows, the inscription read: To Dougie With Love, Janey-E.  Thank you, Dylan! — LMB)

In his prison cell, Doppelganger Cooper (Kyle MacLachlan) stares at himself in his cell’s tiny mirror.  He flashes back to the time he and Killer BOB shared a laugh in the Black Lodge.  He sees himself smashing his face into the mirror at the Great Northern.

In Twin Peaks, we are reintroduced to Mike Nelson (Gary Hershberger), who was Bobby’s best friend and fellow drug dealer during the first two seasons of Twin Peaks.  (He eventually became Nadine’s boyfriend during the time that she had amnesia and thought she was 16.)  Mike is a grown-up, suit-wearing professional now, sitting in an office that is decorated with the mounted heads of dead deer.  Mike is conducting a job interview with Steve Burnett (Caleb Landry Jones), who appears to be a real loser.  Mike informs Steve that his resume is the worst resume that he’s ever seen and then kicks him out of the office.

At the Sheriff’s Department, Doris Truman (Candy Clark) comes by to yell at Frank (Robert Forster) about something.  Honestly, I kinda tuned out this scene and I hope that Doris doesn’t become a major character.  If anything, Frank is even more laconic than his brother.

Back in Las Vegas, Janey-E (Naomi Watts) finally gets Dougie/Cooper (Kyle MacLachlan) out of the house.  She has to tie his necktie for him.  As she tells him everything that he needs to do, Dougie/Cooper stares at her with a blank look.  It’s interesting that, as frustrated as Janey-E gets with Dougie/Cooper, she still tries to rationalize his strange behavior.

At the Rancho Rosa development, Dougie’s car continues to sit there.  The two hitmen drive by again.  They are followed by five more guys, who are all in a black car and playing their music super loud.

Janey-E drops Dougie/Cooper off at his place of employment.  Apparently, Dougie worked for Lucky Seven Insurance.  However, Dougie/Cooper is less interested in his job and more fascinated by a statue of a cowboy pointing a gun.  In an oddly beautiful scene, he imitates the statue’s pose.  Finally, one of his co-workers wanders by and tells Dougie to “get the lead out” because they have a meeting.  That co-worker is carrying 8 cups of coffee so, of course, Dougie/Cooper follows after him.

At the meeting, which is full of vapid insurance people, Dougie/Cooper reveals that he can now tell when people are lying.  Apparently, whenever someone lies, a green light flashes across their face.  When Dougie/Cooper offends another agent (played by Tom Sizemore, no less) by calling him a liar, their boss, the wonderfully named Bushnell Mills (Don Murray), defuses the situation by giveing Dougie/Cooper several case files to take home with him.

Out in the hallway, Dougie/Cooper needs to pee but, like a panicking Sim, has no idea what to do.  Luckily, one of his co-workers, assuming that the men’s room must be locked, sneaks Dougie/Cooper into the ladies room.

At the Silver Mustang Casino, Rodney Mitchum (Robert Knepper) and Bradley Mitchum (Jim Belushi) demand to know how Cooper/Dougie could possibly have won 30 jackpots.  Rodney’s way of handling it is to beat up the pit boss (David Dastmalchian) while three women in pink stand in the corner of the room and nonchalantly watch.

Back at Rancho Rosa, Drugged-Out Mother (Hailey Gates) is passed out so her son leaves the house and walks across the street, intent on investigating Dougie’s bomb-laden car.  Fortunately, before the kid can set the bomb off, the black car pulls up.  The five men jump out of the car and tell the kid to “get the fuck outta here!”  They’re planning on stealing Dougie’s car for themselves.  Of course, as soon as the engine starts, the car explodes and takes three of the car thieves with it.  The kid runs back to his house, where the junkie mom is just now starting to come out of her stupor.

At a nearby carwash, Jade (Nafessa Williams) is getting her car washed when she comes across the key to Cooper’s room at the Great Northern.  She drops the key in a nearby mailbox.

At the Double R Diner — it’s Norma (Peggy Lipton) and Shelley (Madchen Amick)!  25 years have passed and they’re still exactly where we left them.  Except that Shelley now has a daughter named Becky (Amanda Seyfried) and Becky’s married to Steve.  Becky comes by the diner to borrow money from Shelley.  Then she goes outside and snorts cocaine with Steve.  Lynch’s camera gives us a close-up of Becky’s face as the drugs temporarily takes away all of her problems.  In this scene, not only does Becky look like Shelley’s daughter (Madchen Amick and Amanda Seyfried really do look like they could be related) but there’s also a disconcerting resemblance to Laura Palmer as well.

(Also, remember how Shelley used to say that she married Leo because of his car?  Well, Steve has a corvette of his own.)

Back in Vegas, Dougie/Cooper is still acting weird.  He doesn’t understand that, when riding an elevator, you’re supposed to get off when the doors open.  Some people get upset with him about that but Dougie/Cooper is more interested in going outside and staring at that statue.  Of course, Dougie/Cooper is still holding onto those case files.

At the Sheriff’s Department, Andy (Harry Goaz) and Hawk (Michael Horse) go through the Laura Palmer case files, searching for what’s missing.

In his trailer, Dr. Jacoby (Russ Tamblyn) goes live online, delivering a rant about globalist corporate conspiracies and selling his gold-painted shovels so that his listeners can “dig yourself out of the shit.”  Nadine (Wendy Robie) and Jerry (David Patrick Kelly) listen appreciatively.

At the Pentagon, Col. Davis (Ernie Hudson) is informed that they’ve gotten another “database hit” on Garland Briggs’s fingerprints.  Apparently, in the years since his mysterious death, Briggs’s finger prints have shown up in 16 different locations.

At the Roadhouse, the kickass band Trouble is playing.  Meanwhile, a handsome but dangerous looking man (Eamon Farren) sits under a sign that says no smoking and smokes a cigarette.  When a Roadhouse employee tells him to put out his cigarette, the man hands over a pack of cigarettes.  Inside the pack are several hundred dollar bills.  So, apparently, the Roadhouse is still the center of the Twin Peaks drug trade.

When Charlotte (Grace Victoria Cox) tries to flirt with him, the man suddenly turns violent, grabbing her and taunting her with, “Do you want to fuck me, Charlotte?  Do you want to fuck?  I’m going to laugh when I fuck you, bitch!”  It’s a deeply unpleasant scene, as Lynch obviously meant for it to be.

The man’s name is not mentioned but, according to the end credits, he’s Richard Horne.  Presumably, he’s a member of the infamous Horne Family.  Is he a cousin?  Or maybe Jerry’s kid?  Or, even more intriguingly, Audrey’s son?  Whatever he is, Richard is bad news.

(And let’s not forget that, way back at the start of Part One, the Giant told Cooper to remember “Richard and Linda.”)

At FBI Headquarters, Tamara (Chrysta Bell) compares the finger prints of both Cooper and his Doppelganger.

At the South Dakota prison, Doppelganger Cooper finally gets his phone call.  The warden (James Morrison) thinks that they’ll be able to listen in on the call but Doppelganger Cooper has other plans.  After taunting everyone listening, Cooper pushes several keys on the phone, which somehow causes every alarm in the prison to go off.  While the warden tries to restore order, Doppelganger Cooper says, into the phone, “The cow’s jumped over the moon.”  As soon as Doppelganger Cooper hangs up, the alarms fall silent.

In Argentina, the black box changes into a small ring.

In Vegas, Dougie/Cooper continues to stare at the statue.

And so, the latest episode ends.  The story may be moving at its own pace but I can’t wait to see where else it leads.

Twin Peaks on TSL:

  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
  30. TV Review: Twin Peaks 2.21 “Miss Twin Peaks” (directed by Tim Hunter) by Leonard Wilson
  31. TV Review: Twin Peaks 22.2 “Beyond Life and Death” (directed by David Lynch) by Lisa Marie Bowman
  32. Film Review: Twin Peaks: Fire Walk With Me (dir by David Lynch) by Lisa Marie Bowman
  33. Here’s The Latest Teaser for Showtime’s Twin Peaks by Lisa Marie Bowman
  34. Here’s The Newest Teaser for Showtime’s Twin Peaks by Lisa Marie Bowman
  35. 12 Initial Thoughts About Twin Peaks: The Return Parts One and Two by Lisa Marie Bowman
  36. This Week’s Peaks: Parts One and Two by Ryan C. (trashfilm guru)
  37. TV Review: Twin Peaks: The Return Parts One and Two (dir by David Lynch) by Lisa Marie Bowman
  38. 4 Shots From 4 Films: Special Twin Peaks Edition by Lisa Marie Bowman
  39. This Week’s Peaks: Parts Three and Four by Ryan C. (trashfilm guru)
  40. 14 Initial Thoughts About Twin Peaks: The Return Part Three by Lisa Marie Bowman (dir by David Lynch)
  41. 10 Initial Thoughts About Twin Peaks: The Return Part Four by Lisa Marie Bowman (dir by David Lynch)
  42. TV Review: Twin Peaks: The Return Parts Three and Four (dir by David Lynch) by Lisa Marie Bowman 
  43. 18 Initial Thoughts About Twin Peaks: The Return Part 5 (dir by David Lynch) by Lisa Marie Bowman
  44. This Week’s Peaks: Part Five by Ryan C. (trashfilm guru)

 

 

 

Back to School #13: American Graffiti (dir by George Lucas)


Well, this is certainly intimidating.  I know I’ve said this many time before but it deserves to be repeated: it’s often a hundred times more difficult to review a great film than it is to review a merely mediocre one.  When a film fails, it’s usually easy to say why.  The acting was bad.  The directing was uninspired.  The plot didn’t make any sense.  Or maybe the film has been so overpraised that you, as a reviewer, are almost obligated to be tougher on it than you would be with any other film.  However, it’s never as easy to put into words just what exactlyit is that makes a movie great.

Take the 1973 Best Picture nominee American Graffiti for instance.  I could tell you that this is a very well-acted film and that it features an ensemble of very likable performers, many of whom subsequently went on to become stars and celebrated character actors.  Then again, you can say the same thing about countless other films.

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I could say that director George Lucas does such a good job putting this film together that it’s hard to believe that he’s the same man who would later be responsible for all three of the Star Wars prequels.  Then again, I could also say the same thing about how odd it is that the same man who directed the entertaining Final Destination 5 was also responsible for the far less enthralling Into The Storm.

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I could tell you that the film serves as a valuable time capsule in that not only does it feature a loving recreation of small town America in the early 60s but that it’s also a chance to see what Richard Dreyfuss, Ron Howard, and Charles Martin Smith all looked like when they still had hair.  But then again, I also praised The Young Graduates for being a time capsule as well.

MelsGraffiti

Let’s face it — it’s difficult to define the intangible qualities that make a film great.  Often times, it’s a case of simply knowing it when you see it.  I’ve seen American Graffiti a few times.  The last time I saw it was at a special Sunday showing at the Alamo Drafthouse.  And, on that early Sunday afternoon, the theater was packed with people who had paid for the chance to see the 40 year-old film on the big screen.  I’m 28 years old and it’s significant that, while the majority of the audience was older than me, there were quite a few people who were younger.  American Graffiti is one of those films that obviously spoke to audiences when it was first released and continues to speak to audiences today.

As I mentioned in my review of Rebel Without A Cause, films about teens tend to age quickly and, often times, one generation’s masterpiece will turn out to be a later generation’s joke.  When a film like Rebel or American Graffiti survives the test of time, it’s because the film has managed to capture a universal truth about what it means to be young and to have your entire life ahead of you.

American Graffiti takes place over the course of one long night in Modesto, California in 1962.  The film follows several different characters, the majority of whom have just graduated from high school.  What these characters all have in common is that one phase of their life has ended and a new one is about to begin.  Over the course of that one night, all of them are forced to say goodbye to their past identities and, in some instances, are forced to face their future.

Curt and the Pharoahs

For instance, there’s Curt (an amazingly young Richard Dreyfuss), a neurotic intellectual who spends the night trying to decide whether or not he actually wants to leave for college in the morning.  Complicating Curt’s decision is a mysterious blonde who mouths “I love you” at him before driving away.  While searching for her, Curt finds himself unwillingly recruited into the Pharoahs, a somewhat ludicrous small town gang that’s led by Joe (played, in hilariously clueless fashion, by Bo Hopkins.)  Curt, incidentally, is my favorite character in the film.  He’s just adorable, which admittedly is not a reaction that one often has to Richard Dreyfuss.

(Curt is also featured in one of my favorite scenes, in which he smokes a cigarette with a lecherous teacher named Mr. Wolf.)

Cindy Williams, Ron Howard, and Charles Martin Smith

Curt’s sister (Cindy Williams) is dating Steve Bolander (Ron Howard).  Steve is the former class president and, unlike Curt, he’s very excited about leaving home.  Ron Howard gives such a likable performance that it actually takes a few viewing to realize just how big of a jerk Steve really is.

Terry and Debbie

 

And then there Terry (Charles Martin Smith) who wears big glasses and has bad skin.  Terry gets to spend the night driving around in Steve’s car and manages to pick up a girl named Debbie (Candy Clark).  For Terry, this is his night to actually be somebody and what makes it all the more poignant is just how obvious it is that Terry will probably never get another chance.  Though he may not realize it, those of us watching understand that this is literally going to the be the best night of Terry’s life.

(Incidentally, much like Ron Howard, Charles Martin Smith would go on to become a film director and gave the world the amazingly sweet Dolphin Tale.)

John Milner

And finally, there’s John Milner (Paul Le Mat).  John is a little older than the other main characters.  He spends most of his time in his car, driving around and getting challenged to race.  He’s the epitome of late 50s/early 60s cool, with an attitude and a look that he obviously borrowed from James Dean and Marlon Brando.  Over the course of the night, he is forced to deal with a bratty 13 year-old stowaway (MacKenzie Phillips) and a mysterious challenger named Bob Falfa (played by a youngish Harrison Ford, who wears a cowboy hat and speaks with a country twang).

Harrison Ford in American Graffiti

The film follows these characters through the night and then, at the end of it, we get the famous epilogue where we discover that all of the male characters have pretty much ended up exactly how we thought they would.  In some cases, that’s a good thing.  And in other cases, it’s not.  It’s a good ending that’s kept from being great by the fact that none of the film’s female characters rate so much as even a mention.

So, what else can be said about American Graffiti?

It’s a great film.

Isn’t that enough?

American Graffiti