TV Review: Twin Peaks: The Return Part 18 (dir by David Lynch)

Posted on September 4, 2017 by Lisa Marie Bowman

The Twin Peaks finale, which began with Part 17, concludes with an episode that we’ll probably still be debating 25 years from now.

The Doppelganger sits in the waiting room of the Black Lodge and bursts into flame. MIKE (Al Strobel) uses the Doppelganger’s soul to create another Cooper (Kyle MacLachlan). One scene later, that Cooper is arriving at his home in Las Vegas, where he is embraced by Janey-E (Naomi Watts) and Sonny Jim (Pierce Gagnon).

In the woods outside Twin Peaks, the real Cooper leads Laura (Sheryl Lee) by the hand. Again, Laura vanishes and we hear the sound of her screaming.

Suddenly, we are again in the waiting room of the Black Lodge. Cooper sits in his chair. MIKE asks him, “Is it the future or the past?” Events from Parts One and Two repeat. Cooper again meets the Arm but this time the Arm asks him not if he remembers the Doppelganger but if he knows the story of the little girl who lived down the street. Again, Laura whispers in Cooper’s ear before being pulled away by an unseen force. Again, Leland (Ray Wise) tells Cooper to find Laura.

And, once again, Cooper starts to walk through the Black Lodge but this time, he finds a room that is full of dead trees. And in that room, Diane (Laura Dern) is waiting for him. “Is it you?” she asks him, “is it really you?” Cooper is shocked but happy to see Diane.

(Is it possible that, even after saving Laura Palmer and therefore eliminating the event that led to him going to Twin Peaks in the first place, Cooper still found himself trapped in the Black Lodge for 25 years? But now, instead of being sent to destroy his Doppelganger, could it be that Cooper has been allowed to leave specifically to track down Laura?)

In the next scene, Cooper and Diane are driving down a desert road. It looks like the same road in South Dakota where the Doppelganger crashed his car when Cooper previously escaped from the Black Lodge. It does not look like it’s anywhere near Odessa, Texas, which will become important shortly.

They pull over to the side of the road. “Exactly 430 miles,” Cooper says. Cooper gets out of the car. He looks at the power lines above. Remember — in the world of Twin Peaks, electricity is magic. Cooper gets back in the car and asks Diane to kiss him. “Once we cross,” he says, “it could all be different.”

They drive forward. Electricity crackles. Suddenly, they’re driving down a highway in the middle of the night. They pull into a motel and get a room. They make love, with Cooper telling Diane to keep the lights turned out and Diane placing her hands over Cooper’s face.

(It was around this time that I started to realize that a lot of unanswered questions — like what’s going on with Audrey and why Sarah Palmer can remove her face — were probably destined to remain unanswered.)

The next morning, Cooper wakes up in a room that appears to be different from the one that he fell asleep in. Diane is gone but there’s a letter on the nightstand. It is addressed to Richard and it is from Linda. Linda’s letter says that she’s leaving because, “I don’t recognize you anymore.”

(Remember during Part One, when the Giant told Cooper to remember Richard and Linda? I’m going to assume that, just as how Cooper was previously Dougie Jones, the “crossing over” that he and Diane did transformed them into Richard and Linda.)

Cooper leaves his motel and it’s a totally different motel from the one that we previously saw him checking into.

A city limits sign indicates that Cooper is in Odessa, Texas. (Lynch does not make my home state look very good in this episode but I’ll forgive him because he’s otherwise awesome.) As Cooper drives down the street, he sees a sign for Judy’s coffee shop–

JUDY!

Cooper pulls into the parking lot and enters Judy’s. He asks the waitress (Francesa Eastwood) if there’s another waitress who works there. She tells him that there is but it’s her day off. When a few rednecks in cowboy hats (really, David?) start to harass the waitress, Cooper beats them up and drops their guns in the deep fryer. Explaining that he’s with the FBI, Cooper asks for the other waitress’s address.

Cooper’s drives up to the waitress’s house. He sees that she has an electric poll (marked No. 6) outside of her house. When Cooper knocks on the door, it’s answered by Laura Palmer (Sheryl Lee)!

Except that she says that her name isn’t Laura Palmer. She insists that her name is Carrie Page and, when she hears that Cooper is FBI, she immediately asks, “Did you find him!?” Cooper tells her, “Your father’s name is Leland. Your mother’s name is Sarah.” When Carrie hears Sarah’s name, she appears to be momentarily shaken and asks. “What’s going on?” Cooper tells her that she is Laura Palmer and that she needs to come with him to Twin Peaks, Washington.

“D.C?” Carrie asks.

“State,” Cooper replies.

Carrie agrees to go up to Twin Peaks with him. Her willingness may have something to do with the dead man who is propped up on her couch.

Cooper and Carrie drive all the way from Texas to Washington State. That’s quite a long journey and, as I watched them slightly driving down yet another dark highway, I again resigned myself to the knowledge that the show would never reveal just why exactly Audrey was screaming in that white room.

Hey, Coop, I know you’re busy but remember Audrey?

(My theory is that, after raping her, the Doppelganger sent Audrey to the Black Lodge, and, just as he did to Diane, manufactured a replacement. But if Cooper saved Laura and the Doppelganger never entered our world, is Audrey in the Black Lodge? In fact, if Laura never died then Ben never had to sale the Ghostwood Estates to get an alibi, which means that he never pushed Audrey to become an environmental crusader and, hence, Audrey was probably not at the bank when the bomb went off.)

Finally, Cooper and Carrie reach Twin Peaks. They drive past the Double R. Carrie says she doesn’t recognize anything, not even the Palmer House.

Cooper and Carrie walk up to the house. (Rather sweetly, Cooper and Carrie hold hands as they approach.) What follows is Lynch at his creepiest, his best, and his most frustrating.

Alice Tremond was played the actual owner of the house that’s used for the exterior shots of the Palmer House.

When Cooper knocks on the door, it’s answered by the house’s owner, Alice Tremond. (Longtime fans of the show will recognize the Alice Tremond name as belonging to one of the inhabitants of the Black Lodge. However, Cooper never met Mrs. Tremond. Only Donna met her and her odd grandson.) Mrs. Tremond says that, as far as she knows, no one named Palmer has ever lived un the house. When asked, she says that she bought the house from Mrs. Chalfont, another Black Lodge inhabitant that Cooper never met.

Stunned, Cooper and Carrie walk away from the house.

“What year is this?” Cooper asks.

Carrie shrugs.

Suddenly, from inside the house, we hear Sarah Palmer’s voice. “Laura!”

Carrie screams. We hear a burst of static electricity and it appears that lights in the house go off. The screen fades to black.

The screaming fades. Again, we see Cooper’s passive face as Laura whispers in his ear.

End credits. Sheryl Lee is credited twice. Once for playing Laura Palmer. Once for playing Carrie Page.

And so it ends.

We’re going to spend years debating what all this means and I don’t want to say too much until I get chance to watch the entire series a second time. (I plan on watching all 18 hours next weekend.) It does appear that, no matter how much Cooper and Laura try to avoid it, all paths lead back to not only Twin Peaks but also to the unspeakable horror that occurred in the Palmer House. Much like Dana Andrews’s obsessive P.I. in the classic film noir, Laura, Cooper is obsessed with saving a dead woman.

I’ll write more on this later, after I’ve had time to rest. For now, I just want to thank everyone who has followed our Twin Peaks coverage here on the Shattered Lens. And thank you to Jeff, Leonard, and Ryan for contributing!

It’s a strange world, isn’t it?

Twin Peaks on TSL:

16 Initial Thoughts on Twin Peaks Part 18 (dir by David Lynch)

Posted on September 3, 2017 by Lisa Marie Bowman

As always, these are my initial thoughts. A full recap and review will be posted either later tonight or tomorrow.

So, did Cooper manufacture another Dougie for Janey-e and Sonny Jim?
Dammit, Cooper — don’t get stranded in the Black Lodge again. It was a hard enough to get you out the last time.
“Find Laura.” Was’t Cooper supposed to find Richard and Linda too?
It’s kind of a nice coincidence that the scene immediately following Cooper being told to “Find Laura,” features Laura Dern.
I notice that real Diane curses a lot less than manufactured Diane.
Okay, I love David Lynch and I love Twin Peaks but I don’t necessarily need to hear this entire damn song, not when the mystery of Audrey has yet to be solved.
Cooper is Richard? And Diane was Linda?
Odessa? They’re in Texas now?
I’d complain about the portrayal of Texas but at least this isn’t as bad as that episode of the X-Files.
Uhmmm…you might not want to travel with Carrie Page, seeing as how she has a dead man in her living room and all…
Odessa’s not that bad a town.
I’m noticing that we’ve only got 15 minutes left and Audrey is still screaming in a white room, for all that we know. This is a very odd finale and one that is going to divide a lot of viewers.
MRS. CHALFONT! And a Tremond reference as well.
Well, fuck. Is Cooper trapped in a different dimension again? He has the worst luck.
Wow. That scream.
Oh My God, there’s going to be so many angry people. And yet, did we expect anything different?

Twin Peaks on TSL:

Adventures in Cleaning Out The DVR: Mother of All Lies (dir by Monika Mitchell)

Posted on November 14, 2015 by Lisa Marie Bowman

mother of all lies

I watched one final film today as a part of my effort to clean out my DVR. Mother Of All Lies premiered on the Lifetime Movie Network on September 12th and I’m not really sure why I decided just to record it, as opposed to actually watching it. Perhaps I actually had a life on the night of the 12th. Who knows?

Anyway, much as in Girl Missing, Francesca Eastwood plays a young woman who discovers the identity of her birth mother and decides that she wants to see her. In this case, Eastwood is playing Sara Caskie, an intelligent but rebellious teenager (a common character type when it comes to Lifetime movies). Though Sara has a comfortable life with her adopted parents, she wonders about her biological mother, Abby (Jennifer Copping). It turns out that Abby is in prison, convicted of a robbery gone wrong. Over the warnings of her adopted parents, Sara writes a letter to the parole board and is so persuasive that her mother is released from prison!

After being told that she shouldn’t contact her biological mother, Sara does exactly what I would have done. She find out where her mother is living, sneaks out of the house, and then drives off to find her. It turns out that Abby is living in an isolated cousin with her scuzzy boyfriend. At first, Abby is shocked when Sara shows up but Abby eventually allows Sara to stay at the cabin. And that’s a good thing because, once Abby ends up killing her boyfriend, it’s good to have Sara around to help cover the crime up.

The boyfriend’s criminal associates are trying to track him down and soon, they are hanging out around the cabin and generally making things even more trashy. Meanwhile, Sara is starting to doubt whether she really wants to get to know anything else about her mother and Sara’s adoptive parents are frantically searching for her and calling the police.

Mother Of All Lies is one of the less impressive of the many films to premiere on Lifetime and LMN this year. Other then one brilliantly executed nightmare sequence, it’s just not a very memorable film. However, the film is partially redeemed by the heartfelt performances of Francesca Eastwood and Jennifer Copping. Francesca Eastwood — and yes, she is Clint’s daughter — has actually had a pretty good Lifetime run this year. Not only did she star in this film and Girl Missing but she also had a key supporting role in Wuthering High School. Francesca Eastwood is great at playing good-hearted but troubled characters. Meanwhile, Jennifer Copping actually makes her character both poignant and frightening. Whatever other flaws that Mother Of All Lies may have, it is worth watching for their performances.

Adventures in Cleaning Out The DVR: Girl Missing (dir by Joel Soisson)

Posted on November 14, 2015 by Lisa Marie Bowman

So, I recently turned on the TV, checked the guide to see if there was anything on worth recording, and discovered, to my horror, that I only had about 5 hours of recording space left on my DVR! Making matters ever worse was that the DVR was threatening to erase the two oldest recordings in order to make more space. Terrified at the thought of losing both Bend it Like Beckham and Jesus Christ Superstar, I realized that it was time to borrow a page from the Gary Loggins playbook and starting cleaning out my DVR!

I started things off by watching Girl Missing, a film which I recorded off of Lifetime on October 25th. (What was I doing on the 25th that required me to record the movie? I was at a Halloween party, dancing in my underwear and then getting soaked while running through the rain on the way back to the car. Or, at least, that’s what I think I was doing. My memory of that weekend is hazy, at best.)

ANYWAY — according to the IMDb, Girl Missing was originally entitled Forgotten but I imagine Lifetime changed the title to remind viewers of Gone Girl. The film opens with two hunters wandering across a frozen wilderness in the snow. I point this out because the film’s opening few minutes really are impressive and visually striking. The image of those two hunters wandering across that desolate landscape have an otherworldly feel to them. Eventually, the hunters come across something unexpected — a ten year-old girl has been abandoned in a ditch.

Flash forward ten years and that girl has grown up to be Jane (Francesca Eastwood). Jane has no memory of her life before she was found in that ditch. However, that starts to change when she’s contacted by Sylvia, a wealthy New York widow who claims to be her mother. Sylvia is played by Kiersten Warren, who once played Alex in Saved By The Bell: The College Years, a series that my friend Derek and I are currently reviewing over on PrimeTime Preppie.

After traveling to Sylvia’s mansion, Jane is at first excited to finally be reunited with her mother. However, it quickly becomes apparent that not everything is as it seems. Sylvia is nervous and evasive, especially when talking about her husband’s suicide. Her boyfriend, Carlo (the wonderful Federico Dordei), gives off a vibe of pure sleaze and Jane is not happy to discover that Carlo and Sylvia’s affair started while Sylvia was still married. Soon, Jane is having sepia-toned nightmares of past violence and she starts to see a mysterious little girl wandering through the gray hallways of the mansion…

As I watched Girl Missing, with its chilly visuals and twisted storyline, I thought to myself, “This movie must be Canadian.” (And, just so there’s no misunderstandings, I totally meant that as a compliment!) However, I then checked with the imdb and discovered that no, this was not a Canadian film. Instead, it was filmed in Minnesota, which might be close to Canada but is still definitely a part of the United States.

But no matter. Whether the film’s snow was Canadian snow or Minnesota snow, director Joel Soisson still made good visual use of the frozen and desolate landscape. He also made good use of Sylvia’s shadow-filled mansion and the entire film had an enjoyably gothic feel to it. In the end, Girl Missing felt like a fun little Young Adult mystery. It was the epitome of an enjoyable Lifetime film.

What Lisa Watched Last Night #117: Wuthering High School (dir by Anthony DiBlasi)

Posted on March 18, 2015 by Lisa Marie Bowman

Yesterday, I finally got around to watching the latest film from both Lifetime and the Asylum, Wuthering High School!

Cathy and Heath

Why Was I Watching It?

I was late in watching Wuthering High School. Saturday afternoon, I spent five hours in the Emergency Room, all so I could find out that I have bronchitis. By the time I finally got home, I was so tired that I slept through the Lifetime premiere of Wuthering High School. Fortunately, I did DVR it and yesterday, I finally found the time to watch it.

As to why I was watching it — hey, it’s a modern version of Wuthering Heights that’s set in a high school! And it was produced by the Asylum!

Wuthering Heights, high school, and The Asylum, three of my favorite things.

Seriously, how could I not watch it?

What Was It About?

Wuthering High School is the latest version of Emily Bronte’s classic novel, Wuthering Heights. After his family is deported, Heath (Andrew Jacobs) is adopted by wealthy Mr. Earnshaw (James Caan). Soon, Earnshaw is viewing Heath as being more of a son to him than his biological child, the drug-addicted Lee (Sean Flynn). Meanwhile, Heath has fallen in love with Earnshaw’s daughter, Cathy (Paloma Kwiatkowski). Cathy is struggling to come to terms with the recent death of her mother and soon, she and Heath are skipping school, tearing up school books in slow motion, and getting sentenced to community service. However, when Cathy rejoins the school’s popular clique of mean girls, she starts to grow distant from Heath. While Heath plots his revenge, Cathy is pursued by the well-meaning but ineffectual Eddie Linton (Matthew Boehm).

What Worked?

At its heart, Wuthering High School was definitely a “look at the pretty clothes and look at the pretty houses” type of film. And that’s okay because, ultimately, the clothes and the houses were all very pretty and they were all filmed in very loving detail by director Anthony DiBlasi. At it’s best, Wuthering High School is a pure celebration of melodramatic style.

Modernizing a classic, 19th century novel is always a risky proposition. Setting it in a high school is equally dangerous as well. But I actually liked a few of the ways that Bronte’s story was updated. For instance, I thought it was brilliant to turn the novel’s gambling addicted Hindley Earnshaw into the film’s drug-addicted Lee Earnshaw. As well, transforming gypsy Heathcliff into Heath, the son of a deported illegal immigrant, worked far better than I expected that it would.

Among the supporting cast, Matthew Boehm and Francesca Eastwood were both well-cast. Eastwood, especially, seemed to be having a lot of fun delivering her Mean Girls-style dialogue. (“That’s not the first time you’ve been wet,” she says after pouring a drink on Cathy.) And James Caan brought a lot of gravitas to his role.

And, finally, Paloma Kwiatkowski was well-cast as the angry and outspoken Cathy. Many scenes that should not have worked did work because of Kwiatkowski’s sincere and empathetic performance.

What Did Not Work?

So, with all of those good points that I mentioned above, why wasn’t Wuthering High School as much fun as it should have been? Ultimately, I think the film’s pacing was just a little bit off. Certain scenes moved just a bit too slowly while other scenes were finished too quickly and, as a result, the entire film had an oddly rushed feel to it.

As well, I had some issues with the film’s ending. Obviously, this is going to be a SPOILER so, if you want to be surprised, don’t read any further. *SPOILER BEGINS* Towards the end of Wuthering High School, Cathy chooses to walk out into the ocean and drowns herself while Heath watches. We are then left with a montage of everyone mourning, Heath digging up her grave and curling up next to her in a coffin, and Cathy — speaking to us from beyond the grave — saying that she’s now finally been reunited with her mother. And … seriously? Obviously, Cathy had to die in order to remain true to the spirit of Wuthering Heights but did she have to commit suicide and, even more importantly, did the film have to suggest that she was better off having done so? *SPOILER ENDS*

Finally, of the many actors to have played Heathcliff over the years, Andrew Jacobs was not exactly the most convincing. He came across as being more petulant than passionate.

“Oh my God! Just like me!” Moments

Oh, I totally related to Cathy. I always do.

Lessons Learned

Avoid the ocean at all costs.

6 Late Film Reviews: 300: Rise of Empire, About Last Night, Adult World, Jersey Boys, Ride Along, and Trust Me

Posted on November 23, 2014 by Lisa Marie Bowman

Well, the year is coming to a close and I’ve got close to 50 films that I still need to review before I get around to making out my “Best of 2014” list. (That’s not even counting the films that I still have left to see. December is going to be a busy month.) With that in mind, here are late reviews of 6 films that I saw earlier this year and had yet to get around to reviewing.

1) 300: Rise of an Empire (dir by Noam Munro)

Last night, I watched 300: Rise of an Empire for the second time and I still couldn’t figure out what exactly is going on for most of the film. I know that there’s a lot of fighting and a lot of bare-chested men yelling and, whenever anyone swings a sword, they suddenly start moving in slow motion and dark blood spurts across the screen like Jackson Pollock decorating a previously blank canvas. The style of 300 has been co-opted by so many other films that 300: Rise of an Empire feels more like an imitation than a continuation.

At the same time, I’m resisting the temptation to be too critical of 300: Rise of the Empire for two reasons. First off, this movie wasn’t really made to appeal to me. Instead, this is a total guy film and, much as I have every right to love Winter’s Tale, guys have every right to love their 300 movies. Secondly, 300: Rise of an Empire features Eva Green as a warrior and she totally kicks ass.

2) About Last Night (dir by Steve Pink)

Obviously, I made a big mistake this Valentine’s Day by insisting that my boyfriend take me to see Endless Love. (I still stand by my desire to see Winter’s Tale.) I say this because I recently watched this year’s other big Valentine’s Day release, About Last Night, and I discovered that it’s a funny and, in its way, rather sweet romantic comedy.

About Last Night tells the story of two couples, Danny (Michael Ealy) and Debbie (Joy Bryant) and Bernie (Kevin Hart) and Joan (Regina Hall). All four of the actors have a very real chemistry, with Hart and Hall bringing the laughs and Ealy and Bryant bringing the tears. The film itself is ultimately predictable but very likable.

3) Adult World (dir by Scott Coffey)

In Adult World, Emma Roberts plays Amy Anderson, an aspiring author and recent college graduate. Despite her own overwhelming faith in her own abilities, Amy struggles to find a job outside of college. She is finally reduced to working at Adult World, a small adult bookstore. Working at the store, she befriends the far more down-to-earth Alex (Evan Peters) and eventually discovers that one of her customers is also her idol, poet Rat Billings (John Cusack). Amy proceeds to force her way into Rat’s life, volunteering to work as his assistant and declaring herself to be his protegé. However, it turns out that Rat is far less altruistic than Amy originally thought (and with a name like Rat, are you surprised?).

Adult World is a flawed film but I still really enjoyed it. The story has a few problems and the film never really takes full narrative advantage of Adult World as a setting but the entire film is so well-acted that you’re willing to forgive its flaws. Cusack gives a surprisingly playful performance while Evan Peters is adorable in a Jesse Eisenberg-type of way. Emma Roberts shows a lot of courage, playing a character who is both infuriating and relatable.

4) Jersey Boys (dir by Clint Eastwood)

Clint Eastwood’s upcoming American Sniper has been getting so much attention as a potential Oscar contender that it’s easy to forget that, at the beginning of the year, everyone was expecting Jersey Boys to be Eastwood’s Oscar contender. In fact, it’s easy to forget about Jersey Boys all together. It’s just one of those films that, despite its best efforts, fails to make much of an impression.

Jersey Boys is based on one of the Broadway musicals that tourists always brag about seeing. It tells the true story of how four kids from the “neighborhood” became the Four Seasons and recorded songs that have since gone on to appear on thousands of film soundtracks. The period detail is a lot of fun, Christopher Walken, who has a small role as a local gangster, is always entertaining to watch, and the music sounds great but Eastwood’s direction is so old-fashioned and dramatically inert that you don’t really take much away from it.

Hopefully, American Sniper will be the work of the Eastwood who made Mystic River and not the Eastwood who did Jersey Boys.

5) Ride Along (dir by Tim Story)

School security guard Ben Barber (Kevin Hart) wants to marry Angela (Tiki Sumpter) but Angela’s tough cop brother James (Ice Cube) doesn’t approve. In order to prove himself worth, Ben goes on a ride along with James and the results are just as generic as you might expect. Probably the only really funny part of the film was the way that Hart delivered the line, “You’re white! You don’t fight!” but we all saw that in the commercial so who cares?

On the plus side, Ice Cube has a lot of screen presence and is well-cast as James. As for Kevin Hart — well, he should probably be thankful that About Last Night came out a month after Ride Along.

6) Trust Me (dir by Clark Gregg)

In Trust Me, Clark Gregg both directs and stars. He plays Howard, a fast-talking but ultimately kind-hearted talent agent who mostly represents children. After losing some of his most popular clients to rival agent Aldo (a hilariously sleazy Sam Rockwell), Howard meets Lydia (Saxon Sharbino), a 13 year-old actress. Soon, Howard is representing Lydia and trying to land her a starring role in a major production. Howard also finds the time to tentatively date his next door neighbor (Amanda Peet). However, there’s more to Howard than meets the eye. He is haunted by the death of one of his previous clients and his guilt leads him to become especially protective of Lydia. When Howard concludes that Lydia is being sexually abused by her crude father (Paul Sparks), he attempts to protect her from both him and the Hollywood system that’s threatening to corrupt her. It all leads to an oddly tragic conclusion…

I say “oddly tragic” because Trust Me is, in many ways, an odd film. As a director, Gregg gets good performances from his cast but he never manages to find a consistent tone. The film starts as a Hollywood satire and then it becomes a romantic comedy and then it turns into a legal drama before then becoming an all-0ut attack on the way the entertainment industry treats child actors and then finally, it settles on being a tragedy. As a result, Trust Me is undeniably a bit of a mess.

And yet, it’s a compelling mess and the film itself is so heart-felt that you can’t help but forgive its flaws. If nothing else, it proves that Clark Gregg is capable of more than just being Marvel’s Agent Coulson.