One may wish that as the storyline pushes forward that it succumbed less to portentous melodrama.
Damsel ends up feeling like a festival-land breakout comedy short dragged out for two interminable hours.
The finale invites us to inquire into our own motives for wanting to revisit the series.
Even apologists for deep-seated perversity will have a tough time justifying long stretches of the latest episode.
The episode divides its time between domestic drama, overarching mythology, and seriocomic pop surrealism.
The episode’s frequent matched pairs and expository repetitions seem to draw attention to themselves.
The episode uses David Lynch’s abiding preoccupation with mirror imagery as an often subtle structural device.
The episode’s emotional epicenter is Bobby Briggs, now white-haired and working as a deputy for the department.
All the narrative hopscotching is little more than a superficial ploy to gussy up a clichéd redemption tale.
The premise is undermined by the film’s tendency to soft-pedal the dangerous situations it sets up.