Film Review: The House That Jack Built (dir by Lars von Trier)


The other night, I watched 2018’s The House That Jack Built on Showtime and I have to say that, sitting here the morning afterwards, I kind of wish that I hadn’t.  It’s a well-made film and there’s a bit more going on underneath the surface that some other reviews might lead you to suspect but, at the same time, it’s also deeply unsettling and, even by the standards of Lars von Trier, disturbing.  It’s not a film to watch right before you go to bed, nor is it a film to watch at the beginning of a long week.  I’m still feeling the after effects of having watched this movie and I imagine I’ll probably be jumpy for the next few days.

The title character, Jack (Matt Dillon), is someone who loves to talk about himself.  He’s an engineer but he wishes he was an architect.  He thinks of himself as being an artist and an intellectual and he has no hesitation about informing you that he’s smarter than just about everyone else on the planet.  He’s annoyed that he’s not better-known.  He feels that his work is underappreciated.

The House that Jack Built runs two and a half hours and, as a result, we spent a lot of time listening to Jack talk.  One thing that quickly becomes apparent is that Jack knows a lot but he understand very little.  He spends a lot of time talking about Glenn Gould, Goethe, and Nazi architecture but his thoughts on them are rather shallow and predictable.  When we see flashbacks to Jack’s youth, we don’t see any signs of the intelligence that he claims to possess as an adult.  Instead, we just see a scowling country boy who used to abuse animals.  Jack may insist on calling himself “Mr. Sophistication” but there’s really nothing sophisticated about him and one gets the feeling that his faux intellectualism is something that he developed to justify the fact that he’s a sociopath and a serial killer.  Jack claims to have murdered at least 60 people and he also says that each murder was a work of art.  If art reflects the time and place in which it was made than how can we condemn Jack for reflecting the soullessness and cruelty of the real world in his own creations?  The answer, of course, is that we can very easily condemn Jack.  Jack uses the state of the world to justify his actions but that doesn’t mean we have to buy what he’s selling.

The House That Jack Built is built around a lengthy conversation between Jack and an enigmatic character named Verge (Bruno Ganz).  Jack shows Verge the “five incidents” that, over the course of 12 years, have defined who Jack is as a person and a serial killer.  The five incidents feature Jack killing everyone from a stranded motorist (Uma Thurman) and a grieving widow (Siobhan Fallon Hogan) to a terrified mother and her two sons.  Jack has a brief and toxic relationship with one of his victims (heart-breakingly played by Riley Keough) and it leads to an act of violence that’s so disturbing that I don’t even want to relive it long enough to write about it.  Throughout it all, Jack tries to justify himself while Verge continually calls him out on his bullshit.  Watching the film, I found myself very thankful for Verge.  The film would have been unbearable if it has just been Jack bragging on himself, unchallenged.  Verge not only calls out Jack but also anyone who would idolize someone like Jack.  At times, the film itself seems to be ridiculing the whole idea of the Hannibal Lecter-style serial killer.  There’s nothing suave or witty about Jack.  He’s just a loser with no soul.

Even though I was watching the R-rated version (as opposed to the unrated director’s cut), the murders were still disturbingly graphic.  But what really made the film unsettling was its peek into Jack’s nihilistic worldview.  As much as he may try to convince you otherwise, it soon becomes clear that there’s nothing going on inside of Jack’s head.  When Jack isn’t suffering from delusions of grandeur, he’s mired in self-pity.  (Listening to Jack, one is reminded of the infamous BTK Killer, who spent hours in court describing his murders without a hit of emotion but who later broke into tears when informed that he would be spending the rest of his life in prison.)  Unlike most movie serial killers, Jack doesn’t have a flamboyant origin story or any sort of trauma-related motive for his crimes.  He kills because he wants to.  Jack is capable of being superficially charming.  As a sociopath, he’s learned how to put people at ease.  But there’s nothing behind that charm.  When he performs some post-mortem surgery to give one of his victims a permanent smile, the results are grotesque because Jack has no idea what a real emotion looks like.  (Jack weakly waves at the body, as if he’s trying to teach himself how to act like a normal person.)

Throughout the film, we get a lot of stock footage.  (It’s justified by the fact that Jack is talking about art and history, two subjects about which he only has a surface knowledge.)  Interestingly enough, we also get several clips that were lifted from Von Trier’s previous films.  At one point, Jack passes a cabin that some viewers will recognize from Antichrist.  While Jack tries to dispose of a body, David Bowie’s Fame plays on the soundtrack and it’s hard not to be reminded of how Bowie’s Young Americans played over the closing credits of both Dogville and Manderlay.  We’re left to wonder if Jack is meant to be, in some way, a stand-in for Von Trier.  Much like Jack, Von Trier is often accused of using his own artistic pretensions to justify a nihilistic and misogynistic worldview.  It’s easy to imagine Verge as a stand-in for some of Von Trier’s fiercest critics.  What then are we to make of the fact that the film also portrays Verge as being correct and Jack as being (literally) bound for Hell?  Is Von Trier telling us that, as much as some people may dislike him and his work, at least he’s not a serial killer like Jack?  Is Von Trier attacking himself?  Or is Von Trier perhaps satirizing his own controversial persona?  Perhaps all three are correct.

By the film’s end, Jack is in Hell.  Interestingly enough, the portal to Hell is found in a house that’s made up of the bodies of Jack’s many victims.  Verge — short for Virgil, of course — gives him a tour.  When Jack sees a broken bridge, Virgil informs him that it once led to Heaven but it can’t be crossed now.  However, Jack is convinced that he can climb over a cliff and make his way to Heaven.  Virgil assures Jack that many have tried but none have succeeded.  Jack, of course, tries and, needless to say, he doesn’t make it.  In the end, redemption is impossible and yet you wonder how, in a world with Heaven and, one assumes, God, Jack even came to exist in the first place.  If Jack had channeled his sociopathic nature into something more productive than murder, would he have been allowed into Heaven?

As I said, it’s a well-made film but it’s also deeply unsettling.  I’m probably going to be jumping at my own shadow for at least a week or two.  At the very least, I’m not answering the door for anyone….


Film Review: Rescue Dawn (dir by Werner Herzog)

Dieter Dengler (Christian Bale) has been obsessed with flying ever since he was a child in Germany.  Towards the end of World War II, while his native country burned around him, Dieter would stare up at the skies and watch the American planes fly overhead and he knew that was not only what he wanted to do someday but also who he wanted to do it for.  Jump forward two decades, to 1966.  Dengler is now a lieutenant in the U.S. Air Force, an always smiling optimist who is considered to be something of a wild man.  When Dengler is reported as having been shot down over Loas, his fellow pilots are not only convinced that Dengler survived but that he’ll also eventually escape captivity.  Why?  Because they now Dieter Dengler is not the type to give up.

And they’re right.  Dengler not only survives the crash but he also survives in the wild.  After growing up in the rubble of Germany, Dengler is confident that he can survive anything.  Even when he’s finally captured by communist rebels, Dengler remains optimistic that he’ll make it back home.  When he’s told that he can go free if he signs a statement denouncing the United States, he refuses.  Dengler’s not going to turn on the country that allows him to fly.  Dengler soon finds himself being held in a POW camp with four other men, including two other Americans (played by Jeremy Davies and Steve Zahn).  The guards are determined to break Dengler but he’s just as determined to escape.  Hearing that it’s impossible to do so only makes Dengler more determined.

The story of Dieter Dengler and his eventual escape from captivity was originally told, by Dengler himself, in Werner Herzog’s 1997 documentary, Little Dieter Needs To Fly.  That Herzog saw Dengler as a kindred spirit is evident in the fact that, 9 years after the documentary, Herzog again told Dengler’s story in the 2006 film, Rescue Dawn.

On the face of it, a story about a group of Americans escaping from a POW camp might sound like an unlikely topic for a Werner Herzog film but it doesn’t take long for Herzog to put his own distinctive stamp on the project.  As played by Bale, Dengler is another one of Herzog’s obessessive heroes.  Dengler’s obsession is not just with flying but also with being free.  For Dengler, that’s what being an American means and that’s why he would rather be tortured than sign a simple piece of paper denying the existence of that freedom.  Much as how Grizzly Man portrayed Timothy Treadwell as being a man who would rather be eaten by a bear than live a life that’s been dictated by others, Dengler would rather suffer than betray his adopted country.

Rescue Dawn also centers around another common Herzog theme, the pitilessness of nature.  Watching Dengler trying to make his way through the jungle, we’re reminded that nature will always win in the end.  In Herzog’s world, neither nature nor the universe as a whole has any ideology.  Long after every warrior has died, the film tells us, nature will still be there.  The one thing that the POWs and their captors have in common is that they’re all at the mercy of the chaos of nature.  Just as the jungle threatens to swallow up Dengler and the other prisoners, their captors are slowly starving to death due to a drought.  As filmed by Herzog, the jungle is both beautiful and overwhelming.  Even at the film’s triumphant conclusion, it’s hard not to feel that, for all the planning, Dengler’s escape and survival was due to the random chaos of the universe.  How much can we control and how much must we simply leave up to the whim of nature?

Bale, Davies, and Zahn all give excellent performances and Herzog keeps the story moving quickly.  It’s probably one of his most emotionally accessible films and it’s impossible not to shed a tear at that final scene.  That said, I’d be remiss if I didn’t acknowledge that there’s a good deal of controversy about the way that Rescue Dawn portrays Gene DeBruin, the POW played by Jeremy Davies.  The film often contrasts Dengler with DeBruin.  If Dengler is always hopeful and determined, DeBruin is portrayed as being unstable and unreliable.  However, by most accounts — including the one given by another one of the prisoners — DeBruin was actually the exact opposite of how he was portrayed in the film.  Instead of being selfish, he was a source of strength for the POWs and he actually refused to take advantage of a previous chance to escape because it would have meant abandoning the rest of the prisoners.  Herzog has said that he wasn’t aware of DeBruin’s heroism when he wrote and directed the film and that he now regrets the way that DeBruin was portrayed.  (DeBruin’s brother has said that Herzog refused to talk to the family while the film was in poduction.)  Rescue Dawn is a well-made and wonderfully acted film and it’s one that always brings tears to my mismatched eyes but, while watching it, it’s impossible not to regret the injustice that was done to Gene DeBruin.

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)