I'll admit now that I wore an "I killed Laura Palmer" t-shirt thoughout my freshman year of college. Am I embarrassed by that now? Yes, but not as much as you'd think. Twin Peaks was a bona-fide phenomenon, the most subversively popular thing of its day and still a brainy-slash-guilty pleasure with few equals.
Continue reading: Twin Peaks: The Complete Series Review
But Lynch fans might find stuff to enjoy in Dune anyhow. After all, there's a floating bug monster that parlays with Jose Ferrer's space emperor in the early going, flanked by legions of somnambulant slaves in black raincoats that probably inspired the villains in Dark City. This is followed by Kenneth MacMillan's puss-faced Baron Harkonnen floating around on wires, plucking out the heart of an angel-faced boy-toy (who was planting Blue Velvet-style pastel flowers only moments earlier), and sharing some homo-erotic blubbering with his nephew Feyd (played by Sting, who can't act but lends the film his charismatic rock star presence). Even when the plot is difficult to follow -- some nonsense involving a trade war over different planets that all made sense in Frank Herbert's original novel -- there's enough giddy comic book theatrics to keep Dune interesting as it meanders along for nearly three hours.
Continue reading: Dune (1984) Review
The talent behind Eraserhead is that one truly surrealist presence in mainstream American film, David Lynch. Later Lynch would expose the subterranean evil of Capra-esque America in 1986's Blue Velvet, recast The Wizard of Oz among the riotously criminal milieu of 1990's Wild at Heart, and offer us a circuitous journey down Los Angeles's famed Mulholland Drive in 2001 (although you won't be there to admire the view). And critics and audiences will marvel at the perversity of it all.
Continue reading: Eraserhead Review
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