As of the latest episode of Twin Peaks: The Return suggests, the darkness seems to be winning.
The episode’s frequent matched pairs and expository repetitions seem to draw attention to themselves.
The latest episode of Twin Peaks is a delirious descent into the murky matrix of material existence.
The episode uses David Lynch’s abiding preoccupation with mirror imagery as an often subtle structural device.
Many of the events in the latest episode of Twin Peaks seem to depend on the toss of a coin.
We might expect it to end on the performance, as each episode has until now, but Lynch throws us a curveball.
The episode’s emotional epicenter is Bobby Briggs, now white-haired and working as a deputy for the department.
Parts of the episode play like one of David Lynch’s hermetically sealed surrealist short films.
The first two episodes of the new season are largely preoccupied with sowing the seeds for later developments.
Throughout the documentary, the undisguised regret and longing of David Lynch’s reminiscences are often startling.
Lim offers a wealth of poignant anecdotes that elaborate on Lynch without attempting to reductively “explain” him as a human or a creative.
The film finally nets the beautiful, evocative disc it’s long deserved, in a rare case of reality fulfilling a dream.
Ondi Timoner’s film gives English comedian turned “activist” Russell Brand a free pass.
The power of the film is the endurance of an Elvis Presley song (or two), the staying power of a children’s movie, and the sight and sound of a match being struck.
The film receives a gorgeous and exacting transfer that should surpass even a prickly cinephile’s greatest fantasies.
Why are they laughing?
There’s homage, and then there’s the new poster for Alexander Payne’s Nebraska.
It feels like an introductory chapter to a more substantive, sprawling study of the actor.
Mahatma Gandhi is—and always has been—many things to many people, but a sex symbol?
The Big Dream is briefly amusing, consistently strange, but rarely resonant.