This article contains Twin Peaks spoilers
If you’re like me and caught up with Twin Peaks well after its original run on ABC in 1990-1991, you probably got the same advice I heard. “Season one is great and season two sucks. But you need to stick through the second season to get to the finale which is the best episode of the entire show.” Leaving aside the fact that they probably mean “everything after the Laura Palmer murder is solved” sucks, since we got some great episodes in the second season, that advice offers a pretty limited understanding of what the original series had to offer.
Yes, Twin Peaks is most famous for its surreal imagery. Agent Cooper’s visit to the Red Room, Bob crawling over the sofa toward the camera, the Giant’s despairing observation that “It is happening again.” All of these are indelible parts of the series.
If you’re like me and caught up with Twin Peaks well after its original run on ABC in 1990-1991, you probably got the same advice I heard. “Season one is great and season two sucks. But you need to stick through the second season to get to the finale which is the best episode of the entire show.” Leaving aside the fact that they probably mean “everything after the Laura Palmer murder is solved” sucks, since we got some great episodes in the second season, that advice offers a pretty limited understanding of what the original series had to offer.
Yes, Twin Peaks is most famous for its surreal imagery. Agent Cooper’s visit to the Red Room, Bob crawling over the sofa toward the camera, the Giant’s despairing observation that “It is happening again.” All of these are indelible parts of the series.
- 2/14/2023
- by Kirsten Howard
- Den of Geek
This quirky family comedy conceived as an antidote to blaxploitation pictures was adapted from a play that claims no goal beyond feel-good entertainment — and a little preaching about black solidarity. Broad humor, simple characters and thin dramatic conflicts can’t blur the fact that this comedy has its heart in the right place. A game group of talented actors assures us that we’re gonna be glorified, unified and filled-with-pride!
Five on the Black Hand Side
Blu-ray
Olive Films
1973 / Color / 1:85 widescreen / 96 min. / Street Date February 27, 2018 / available through the Olive Films website / 21.99
Starring: Clarice Taylor, Leonard Jackson, Virginia Capers, Glynn Turman, D’Urville Martin, Richard Williams, Sonny Jim Gaines, Ja’net DuBois, Bonnie Banfield, Frankie Crocker, Tchaka Almoravids, Carl Mikal Franklin, Cal Wilson, Philomena Nowlin, Brenda Sutton, Imamu Sukuma, Godfrey Cambridge.
Cinematography: Gene Polito
Film Editor: Michael Economou
Original Music: H.B. Barnum
Written by Charlie L. Russell, from his play
Produced by Brock Peters,...
Five on the Black Hand Side
Blu-ray
Olive Films
1973 / Color / 1:85 widescreen / 96 min. / Street Date February 27, 2018 / available through the Olive Films website / 21.99
Starring: Clarice Taylor, Leonard Jackson, Virginia Capers, Glynn Turman, D’Urville Martin, Richard Williams, Sonny Jim Gaines, Ja’net DuBois, Bonnie Banfield, Frankie Crocker, Tchaka Almoravids, Carl Mikal Franklin, Cal Wilson, Philomena Nowlin, Brenda Sutton, Imamu Sukuma, Godfrey Cambridge.
Cinematography: Gene Polito
Film Editor: Michael Economou
Original Music: H.B. Barnum
Written by Charlie L. Russell, from his play
Produced by Brock Peters,...
- 4/14/2018
- by Glenn Erickson
- Trailers from Hell
Joe Matar Sep 5, 2017
As gripping as it is disappointing, Twin Peaks: The Return once again ends with more questions than answers. Spoilers ahead...
This review contains spoilers.
See related Here's your first look at Murder On The Orient Express Part 17 “The past dictates the future.”
With the season finale distinctly divided into two separate episodes, Part 17 of Twin Peaks: The Return is unquestionably the more climactic of the two. Considering the unhurried pace at which David Lynch and Mark Frost eased into Cooper’s return in Part 16 (and, well, the entire series), the pacing of this episode is practically breakneck.
Beginning with a joke about how Gordon Cole’s penis is still functional (yeesh), we then get a big chunk of exposition about the infamous Judy, who is an evil entity (so, I’ve narrowed that down to either Bob or that ghostly thing that came out of...
As gripping as it is disappointing, Twin Peaks: The Return once again ends with more questions than answers. Spoilers ahead...
This review contains spoilers.
See related Here's your first look at Murder On The Orient Express Part 17 “The past dictates the future.”
With the season finale distinctly divided into two separate episodes, Part 17 of Twin Peaks: The Return is unquestionably the more climactic of the two. Considering the unhurried pace at which David Lynch and Mark Frost eased into Cooper’s return in Part 16 (and, well, the entire series), the pacing of this episode is practically breakneck.
Beginning with a joke about how Gordon Cole’s penis is still functional (yeesh), we then get a big chunk of exposition about the infamous Judy, who is an evil entity (so, I’ve narrowed that down to either Bob or that ghostly thing that came out of...
- 9/4/2017
- Den of Geek
It ended with a scream, and a million questions, only one of which really matters: How could it have ended any other way?
The two-part finale of Twin Peaks' long-awaited third season/reboot/revival/"Return" marks the conclusion of the most elaborate bait-and-switch in television history. For 18 episodes, co-creators David Lynch and Mark Frost deftly played on a quarter century of audience hopes, fears and great expectations created by the show's two original seasons, a prequel film and a host of fake dossiers and diaries. We wanted to see lost loves reunited,...
The two-part finale of Twin Peaks' long-awaited third season/reboot/revival/"Return" marks the conclusion of the most elaborate bait-and-switch in television history. For 18 episodes, co-creators David Lynch and Mark Frost deftly played on a quarter century of audience hopes, fears and great expectations created by the show's two original seasons, a prequel film and a host of fake dossiers and diaries. We wanted to see lost loves reunited,...
- 9/4/2017
- Rollingstone.com
Before I start my final Twin Peaks recap, let’s get one thing clear: I love Twin Peaks. And I loved this new season. And I loved the finale. I remember one hot June evening back in 1991 when the show suddenly ended on a dramatic cliffhanger and then was (seemingly) gone forever. And people hated that finale! It was so polarizing! And then we all turned against the movie. And yet…
Twenty-five years later, here we are, once again. The fans are divided. Twin Peaks has split them in two. People are either furious, or rapturous. And I am the latter.
Twenty-five years later, here we are, once again. The fans are divided. Twin Peaks has split them in two. People are either furious, or rapturous. And I am the latter.
- 9/4/2017
- TVLine.com
The Performer | Kyle MacLachlan
The Show | Twin Peaks
The Episode | “Part 16” (Aug. 27, 2017)
The Performance | When Dale Cooper sprang to attention, so did we.
To best celebrate MacLachlan’s reprisal of the loquacious, square-jawed FBI agent, we should first acknowledge the baseline he set with weeks (upon weeks) as that muted simpleton, Dougie Jones. Because it is the contrast of the performances that made Dale’s “return” all the more vivid.
From the moment the previously comatose electrocution victim reported level of woke as “100 percent,” followed by his abruptly expressed appetite for sandwiches, MacLachlan announced, loud and clear, that the Cooper...
The Show | Twin Peaks
The Episode | “Part 16” (Aug. 27, 2017)
The Performance | When Dale Cooper sprang to attention, so did we.
To best celebrate MacLachlan’s reprisal of the loquacious, square-jawed FBI agent, we should first acknowledge the baseline he set with weeks (upon weeks) as that muted simpleton, Dougie Jones. Because it is the contrast of the performances that made Dale’s “return” all the more vivid.
From the moment the previously comatose electrocution victim reported level of woke as “100 percent,” followed by his abruptly expressed appetite for sandwiches, MacLachlan announced, loud and clear, that the Cooper...
- 9/2/2017
- TVLine.com
Twin Peaks Recap is a weekly column by Keith Uhlich covering David Lynch and Mark Frost's limited, 18-episode continuation of the Twin Peaks television series."Finally," says the One-Armed Man a.k.a. Phillip Gerard (Al Strobel) about midway through Part 16 of Mark Frost and David Lynch's Twin Peaks revival, right after a certain FBI Special Agent returns to the world of the living. It's been 13 episodes since we've seen full trace of Dale Cooper (Kyle MacLachlan), though even then he wasn't entirely himself. (Being trapped for 25 years in the otherworldly Black Lodge has a way of tempering certain personality traits.) Now, however, he's "one hundred percent" (in his estimation, anyway), and there's certainly plenty of giddy pleasure to be had watching the energetic, Boy Scout-like Cooper of old take charge. But that presumes that this is the Dale Cooper of old, and it quickly becomes apparent that that's not the case.
- 8/29/2017
- MUBI
In David Lynch, we trust. That should be what all Twin Peaks fans are thinking right now. What he and Mark Frost have given us in the 16th episode in this return is nothing short of perfect, and is sum of all of the parts that have come before it. Now next week, we have the two episodes that will hopefully cap off one of the best television shows to ever make it to the screen.
After Dougie’s (Kyle MacLachlan) encounter with the electricity outlet an old friend finally makes his return and has one destination in mind; Twin Peaks. Meanwhile Evil Coop and Richard Horne (Eamon Farren) follow co-ordinates to a rock, with dire consequences for Horne. While all this is happening, Diane (Laura Dern) finally remembers what happened at her last encounter with Cooper.
For all the complaints that this season of Twin Peaks was moving slow,...
After Dougie’s (Kyle MacLachlan) encounter with the electricity outlet an old friend finally makes his return and has one destination in mind; Twin Peaks. Meanwhile Evil Coop and Richard Horne (Eamon Farren) follow co-ordinates to a rock, with dire consequences for Horne. While all this is happening, Diane (Laura Dern) finally remembers what happened at her last encounter with Cooper.
For all the complaints that this season of Twin Peaks was moving slow,...
- 8/29/2017
- by Paul Metcalf
- Nerdly
[Editor’s Note: The following article contains spoilers for “Twin Peaks: The Return” (Season 3) through Episode 16, “Part 16.”]
David Lynch’s persistence is paying off.
It’s not like after hearing some fans and critics complain about lengthy, redundant scenes (like five minutes of floor sweeping) and/or characters arcs (“Dougie”), the writer and director — as well as his partner in crime, Mark Frost — could change course midway through “The Return.” But those questioning whether or not the two creators are in complete control of their story — after being given absolute artistic license to make “Twin Peaks” however they see fit — well, those doubters can rest easy.
Read More:‘Twin Peaks’ Review: Rewarding ’Part 16’ Confirms Theories and Evokes Nostalgia to Prepare for Final Gambit
“Part 16” illustrated Lynch’s precise vision more clearly than anything prior, and it did so with a whole lot going on. From tulpa mania to Agent Cooper’s (Kyle MacLachlan) recovery, the penultimate week of “Twin Peaks” featured quite a bit of development that quickly pushed the story forward.
David Lynch’s persistence is paying off.
It’s not like after hearing some fans and critics complain about lengthy, redundant scenes (like five minutes of floor sweeping) and/or characters arcs (“Dougie”), the writer and director — as well as his partner in crime, Mark Frost — could change course midway through “The Return.” But those questioning whether or not the two creators are in complete control of their story — after being given absolute artistic license to make “Twin Peaks” however they see fit — well, those doubters can rest easy.
Read More:‘Twin Peaks’ Review: Rewarding ’Part 16’ Confirms Theories and Evokes Nostalgia to Prepare for Final Gambit
“Part 16” illustrated Lynch’s precise vision more clearly than anything prior, and it did so with a whole lot going on. From tulpa mania to Agent Cooper’s (Kyle MacLachlan) recovery, the penultimate week of “Twin Peaks” featured quite a bit of development that quickly pushed the story forward.
- 8/28/2017
- by Ben Travers
- Indiewire
It's officially called Twin Peaks: The Return – and this week, David Lynch and Mark Frost's remarkable revisit of the world they created over 25 years ago finally lived up to the name. Dale Cooper is back. And Audrey is too.
With only one week and two hours remaining, this season/series revival had spent nearly its entire running time chronicling the (mis)adventures of a Coop far from the one we knew and loved all those years ago – and that's not even counting the evil doppelganger who escaped the Black Lodge into our world.
With only one week and two hours remaining, this season/series revival had spent nearly its entire running time chronicling the (mis)adventures of a Coop far from the one we knew and loved all those years ago – and that's not even counting the evil doppelganger who escaped the Black Lodge into our world.
- 8/28/2017
- Rollingstone.com
Joe Matar Aug 29, 2017
David Lynch finally gives the fans what they want. 100%. Spoilers ahead in our review of No Knock, No Doorbell...
This review contains spoilers.
See related The Flash season 4 needs to make Barry a hero again Arrow season 6: Fringe's Kirk Acevedo will play new villain Supergirl season 3: Kevin Smith returning to direct Legends Of Tomorrow season 3: brand new trailer Black Lightning won't have 'freak of the week' villains
3.16 No Knock, No Doorbell
Let’s get this out of the way up front: this was an exhilarating episode of Twin Peaks: The Return that gave me chills all over. How could it not be? David Lynch and Mark Frost finally gave us, after withholding it until the sixteenth hour, what we wanted. That said, I still believe this was a weaker episode than the previous one.
For one thing, before the big payoff came,...
David Lynch finally gives the fans what they want. 100%. Spoilers ahead in our review of No Knock, No Doorbell...
This review contains spoilers.
See related The Flash season 4 needs to make Barry a hero again Arrow season 6: Fringe's Kirk Acevedo will play new villain Supergirl season 3: Kevin Smith returning to direct Legends Of Tomorrow season 3: brand new trailer Black Lightning won't have 'freak of the week' villains
3.16 No Knock, No Doorbell
Let’s get this out of the way up front: this was an exhilarating episode of Twin Peaks: The Return that gave me chills all over. How could it not be? David Lynch and Mark Frost finally gave us, after withholding it until the sixteenth hour, what we wanted. That said, I still believe this was a weaker episode than the previous one.
For one thing, before the big payoff came,...
- 8/28/2017
- Den of Geek
[Editor’s Note: The following review contains spoilers for “Twin Peaks: The Return” Episode 16, “Part 16.”]
As David Lynch and Mark Frost round the curve toward the home stretch, all of the dedication and hours that viewers have put in begin to snowball into payoff after payoff in the penultimate installment for the show. But just as Eddie Vedder — sneakily introduced by his birth name Edward Louis Severs III — sings at the Roadhouse, this life and this series are “running out of sand.” The passage of time is one that we’ve been made acutely aware of in “The Return,” with reminders from characters who now have wrinkles or adult offspring and the fact that many of the actors have already passed.
The biggest payoff of course is that “Dougie” (Kyle MacLachlan) wakes from getting electrocuted and is 100 percent Cooper now, with the clear diction, upstanding nature, and take-charge attitude that’s made him so appealing from the beginning. And although he sips approvingly of a dark,...
As David Lynch and Mark Frost round the curve toward the home stretch, all of the dedication and hours that viewers have put in begin to snowball into payoff after payoff in the penultimate installment for the show. But just as Eddie Vedder — sneakily introduced by his birth name Edward Louis Severs III — sings at the Roadhouse, this life and this series are “running out of sand.” The passage of time is one that we’ve been made acutely aware of in “The Return,” with reminders from characters who now have wrinkles or adult offspring and the fact that many of the actors have already passed.
The biggest payoff of course is that “Dougie” (Kyle MacLachlan) wakes from getting electrocuted and is 100 percent Cooper now, with the clear diction, upstanding nature, and take-charge attitude that’s made him so appealing from the beginning. And although he sips approvingly of a dark,...
- 8/28/2017
- by Hanh Nguyen
- Indiewire
Recently, Seth Meyers imagined what his NBC talk show might look like if it was set in The Red Room. Despite the opportunity for easy potshots at the preposterousness of “Twin Peaks,” the two-minute segment played it pretty straight.
Read More:‘Twin Peaks’ Review: David Lynch Bids a Pensive Goodbye in a Powerful ‘Part 15’
The original opening titles were reincorporated along with the 4:3 framing of the original seasons. There were stand-ins for Laura Palmer and The Man From Another Place, while Meyers took over the role of Agent Dale Cooper. For anyone familiar with the series, the video homage was quite fun. For anyone else, it would’ve been quite weird.
But one thing stood out above the rest: Seth Meyers was moving too much.
Now, that’s not a slight against Meyers. His take on Agent Cooper was about as physically restrained as possible, barring any lessons from...
Read More:‘Twin Peaks’ Review: David Lynch Bids a Pensive Goodbye in a Powerful ‘Part 15’
The original opening titles were reincorporated along with the 4:3 framing of the original seasons. There were stand-ins for Laura Palmer and The Man From Another Place, while Meyers took over the role of Agent Dale Cooper. For anyone familiar with the series, the video homage was quite fun. For anyone else, it would’ve been quite weird.
But one thing stood out above the rest: Seth Meyers was moving too much.
Now, that’s not a slight against Meyers. His take on Agent Cooper was about as physically restrained as possible, barring any lessons from...
- 8/21/2017
- by Ben Travers
- Indiewire
Norma and Ed seem to have finally found their happy ending. Nadine, still riding a high from Dr. Amp’s vlog, marches to Big Ed’s gas farm, golden sh-t shovel in hand, and releases Ed from their marriage. She claims to be “better” now. She only wants Ed to be happy. And then, to the sounds of Otis Redding wailing “I’ve Been Loving You Too Long,” Ed goes to the Double R Diner to take Norma into his arms. Momentary jeopardy arises when Norma must first dispense with Walter and his diner franchise plans. But while he waits,...
- 8/21/2017
- TVLine.com
Twin Peaks Recap is a weekly column by Keith Uhlich covering David Lynch and Mark Frost's limited, 18-episode continuation of the Twin Peaks television series.Much of David Lynch's work is about regression, or regressiveness, about people who are most comfortable when indulging (really, hiding behind) their baser instincts. An acid-jazz saxophonist with murder on his mind might take refuge in the body and soul of a teenage delinquent (Lost Highway), or a midwestern girl who has played and lost the Hollywood game might concoct a candy-colored dream-life in which she finally attains Tinseltown stardom (Mulholland Dr.). But these escapes always prove to be traps, and cyclical ones at that. What goes around comes around. What has happened before will happen again. Even Blue Velvet's Dorothy Vallens (Isabella Rossellini), finally liberated from her abusive sexual relationship with Frank Booth (Dennis Hopper), "still can see blue velvet through my tears.
- 8/10/2017
- MUBI
You may not realize it, but Lara Flynn Boyle’s Donna — the heart of the original series, the activated burgeoning girl detective, my one true love — returned to Twin Peaks Sunday.
Where exactly was she in the show? Well, it’s complicated. First, her face appeared in an old framed photo (of Laura and Donna, from the original series) sitting on a side table in Sarah Palmer’s living room. Then her voice (it was indeed Boyle’s voice) wafted out over the Road House as James Hurley sang his sweet, crazy, retro 50’s ballad “Just You And I” from Season 2. (Yes,...
Where exactly was she in the show? Well, it’s complicated. First, her face appeared in an old framed photo (of Laura and Donna, from the original series) sitting on a side table in Sarah Palmer’s living room. Then her voice (it was indeed Boyle’s voice) wafted out over the Road House as James Hurley sang his sweet, crazy, retro 50’s ballad “Just You And I” from Season 2. (Yes,...
- 8/7/2017
- TVLine.com
What's worse: Crushing a person's skull or crushing their spirit? The back-from-the-dead Twin Peaks has seen its fair share of the former violation, courtesy of the supernaturally strong denizens of the Black Lodge. When those demonic entities are around – whether they're Woodsmen assaulting radio-station employees or Dale Cooper's evil doppelganger shattering a rival criminal's face with a single punch after an arm-wrestling bout – no cranium is safe. And then there's the long, wordless scene starring Big Ed Hurley (Everett McGill, making his revival debut), which features no monsters and no...
- 8/7/2017
- Rollingstone.com
Joe Matar Aug 7, 2017
Twin Peaks picks up steam and cues the music in its latest season 3 episode, What Story is That, Charlie?
This review contains spoilers.
See related Gotham season 3 episodes 21 & 22 review: Destiny Calling & Heavydirtysoul
3.13 What Story Is That, Charlie?
We continue right where we left off, for better and for worse.
For a while there, every episode of Twin Peaks: The Return almost felt like a non-sequitur to the one preceding it. But Part 13 picks up directly after Part 12, even—and it’s funny to say it, but this feels like a rarity—checking back in with characters who are right where we left them one episode ago.
Thankfully, it’s faster moving than that last episode, which felt mostly like a series of long conversations in rooms and featured the reintroduction of Audrey Horne by way of an over ten-minutes scene (!!!) of her arguing with her diminutive...
Twin Peaks picks up steam and cues the music in its latest season 3 episode, What Story is That, Charlie?
This review contains spoilers.
See related Gotham season 3 episodes 21 & 22 review: Destiny Calling & Heavydirtysoul
3.13 What Story Is That, Charlie?
We continue right where we left off, for better and for worse.
For a while there, every episode of Twin Peaks: The Return almost felt like a non-sequitur to the one preceding it. But Part 13 picks up directly after Part 12, even—and it’s funny to say it, but this feels like a rarity—checking back in with characters who are right where we left them one episode ago.
Thankfully, it’s faster moving than that last episode, which felt mostly like a series of long conversations in rooms and featured the reintroduction of Audrey Horne by way of an over ten-minutes scene (!!!) of her arguing with her diminutive...
- 8/7/2017
- Den of Geek
Twin Peaks Recap is a weekly column by Keith Uhlich covering David Lynch and Mark Frost's limited, 18-episode continuation of the Twin Peaks television series.It's great to be in the know. To have a moment (hopefully more than one) when the veil drops and, per that old song, the mysteries of love (of life) come clear. Part 12 of Mark Frost and David Lynch's revived Twin Peaks opens with just such a scene, as FBI Agent Tammy Preston (Chrysta Bell) is initiated into the Blue Rose Task Force by her superiors Albert Rosenfield (Miguel Ferrer) and Gordon Cole (Lynch). The references Albert drops—to things like "Project Blue Book" and to people like "Chet Desmond"—will be familiar to any Peaks obsessive who has pored over the original series, the Fire Walk with Me movie, or Frost's 2016 tie-in novel The Secret History of Twin Peaks. But remember that...
- 8/1/2017
- MUBI
Anything is possible in the world of Twin Peaks, and in this new season it’s been ridiculously hard to draw any conclusions or make any predictions at all. But, as the weeks go by, it only becomes clearer that evil Richard Horne is in fact the child of Audrey and Evil Coop. I didn’t want it to be true. I hated the idea that Evil Coop raped Audrey (while she was comatose in the hospital after the bank explosion way back in the series finale). But Richard was so evil in this episode, who else could be his dad?...
- 7/17/2017
- TVLine.com
Twin Peaks Recap is a weekly column by Keith Uhlich covering David Lynch and Mark Frost's limited, 18-episode continuation of the Twin Peaks television series.A man walks into a bar—after cursing out Gene Kelly (because most of the time we don't feel like singin' in the rain). The bar, by the way, is named "Max Von's," surely after Erich von Stroheim's rabidly devoted butler Max von Mayerling from Sunset Blvd (1950). Of his employer, silent-film diva Norma Desmond (Gloria Swanson), Max once said, "Madame is the greatest star of them all." No more proper locale, then, for a star entrance: "Diane," says FBI forensics specialist Albert Rosenfield (Miguel Ferrer) to a platinum blond beauty nursing martini and cigarette. Around turns Diane Evans, the heretofore unseen confidante of FBI Special Agent Dale Cooper (Kyle MacLachlan), and played (of course, how could there be any doubt?) by Laura Dern.
- 6/15/2017
- MUBI
Twin Peaks Recap is a weekly column by Keith Uhlich covering David Lynch and Mark Frost's limited, 18-episode continuation of the Twin Peaks television series.The key image in Part 5 of the revived Twin Peaks is of a woman in ecstasy. Recall, however, the subtitle that series co-creator/director David Lynch appended to his thorny 2006 masterpiece Inland Empire: "A Woman in Trouble." The line separating rapture and anguish is a blurry one, especially for Lynch's ladies, who are as likely to end up exquisitely chiseled corpses (the ubiquitous Laura Palmer; Part 2's doomed henchwoman Darya) as they are world-weary survivors. For the moment, let's focus on Rebecca "Becky" Burnett (Amanda Seyfried), daughter of Rr Diner waitress Shelly Johnson (Mädchen Amick), though Becky's last name—taken from ne'er-do-well husband Steven Burnett (Caleb Landry Jones)—obscures the identity of her father. (Dana Ashbrook's now-law-abiding Bobby Briggs is the most likely candidate,...
- 6/6/2017
- MUBI
So many familiar faces popped up in “Part 5” of Showtime’s Twin Peaks revival — and I think we can see all the far-flung storylines just starting to come together. But it was a minor footnote that finally got me bubbling over with excitement. As the credits rolled, a familiar name popped up in the crawl: angular young actor Eamon Farren is playing (drumroll) “Richard Horne.” That’s Horne, as in Horne’s Department Store, and “I’m Audrey Horne and I get what I want.” (And yes I stood up from my couch and screamed out “He’s a Horne!
- 6/5/2017
- TVLine.com
Woo boy, Twin Peaks fans.
If you thought the first two hours of the Twin Peaks revival were weird, you haven't really seen anything yet.
Let's start with what is easily the David Lynch-iest sequence of the show so far.
The Purple Spaceship
After being expelled from the Black Lodge and taking a quick pit stop in the glass box in New York City, real Agent Cooper (Kyle MacLachlan) finds himself in a weird purple spaceship thing with a woman who is listed in the credits as Naido (Nae Yuuki). Her eyes are melted shut, which lends some weight to the idea that eyes are important in Twin Peaks -- Ruth Davenport (Mary Stofle) was missing an eye and it also appeared that Evil Cooper (MacLachlan) shot Phyllis Hastings (Cornelia Guest) through the eye.
The woman eventually disappears and Cooper encounters the shadowy head of Major Garland Briggs (Don S. Davis), who utters the phrase "blue rose...
If you thought the first two hours of the Twin Peaks revival were weird, you haven't really seen anything yet.
Let's start with what is easily the David Lynch-iest sequence of the show so far.
The Purple Spaceship
After being expelled from the Black Lodge and taking a quick pit stop in the glass box in New York City, real Agent Cooper (Kyle MacLachlan) finds himself in a weird purple spaceship thing with a woman who is listed in the credits as Naido (Nae Yuuki). Her eyes are melted shut, which lends some weight to the idea that eyes are important in Twin Peaks -- Ruth Davenport (Mary Stofle) was missing an eye and it also appeared that Evil Cooper (MacLachlan) shot Phyllis Hastings (Cornelia Guest) through the eye.
The woman eventually disappears and Cooper encounters the shadowy head of Major Garland Briggs (Don S. Davis), who utters the phrase "blue rose...
- 5/29/2017
- Entertainment Tonight
His name is Dougie Jones. He has a beer gut, a bad haircut, an even worse selection of sportjackets and a penchant for adultery in vacant development housing. And he does not exist.
Dougie is the mystical creation of Agent Dale Cooper's doppelganger – a living, breathing bait-and-switch brought into existence, somehow, to get sucked into the Black Lodge in the evil being's place. So when Coop returns to the real world, it's this poor sap who gets airlifted into the afterlife. The Bad Dale may vomit up poison and get himself arrested,...
Dougie is the mystical creation of Agent Dale Cooper's doppelganger – a living, breathing bait-and-switch brought into existence, somehow, to get sucked into the Black Lodge in the evil being's place. So when Coop returns to the real world, it's this poor sap who gets airlifted into the afterlife. The Bad Dale may vomit up poison and get himself arrested,...
- 5/29/2017
- Rollingstone.com
Eddie Murphy plays shakedown artist Thomas Jefferson Johnson, who wins a Congressional seat solely because his name is similar to that of the district's longtime, recently deceased representative.
Similarly, name recognition -- Murphy's name on the marquee -- should help Buena Vista with a big early turnout for ''The Distinguished Gentleman.'' Yet this Christmas candidate should pick up ample returns later on, based on its winningly broad comic program. Call it a boxoffice landslide for the Buena Vista party.
In this light reversal of ''Mr. Smith Goes to Washington, '' Mr. Jefferson is no idealistic, corn-fed do-gooder. He's not even a greedy pork barreler with his district's interests in mind -- he's just plain eager to slurp from the public trough.
The only Jeffersonian principle he holds near and dear is the ''pursuit of happiness.'' Washington, D.C., to him is just one big smorgasbord of under-the-table opportunity. When Mr. Jefferson goes to Washington, along with his team of homeys, he's more than eager to use his office to fullest advantage, to partake of the perks, the PACs, the payoffs, the honoraria and, although he's never studied under Henry Kissinger at Harvard, the aphrodisiac of power.
Unencumbered by an agenda and not indebted to any interest groups for his election -- save for a geriatric Jewish rest home -- the street-smart Jefferson is ready to wheel and deal. He cons his way onto the most powerful and corrupt Congressional committee, greasing its chairman (Lane Smith) and lining his pockets with fat-cat cash.
With a fractured, Preston Sturges-like slant on institutional largess and human greed, screenwriter Marty Kaplan has served up a hilarious satire on Congressional malfeasance through the not-so-innocent eyes of a small-time con man learning the ropes of big-time pocket-lining.
Although the narrative dips to a manipulatively melodramatic crisis point, director Jonathan Lynn nimbly keeps it from dripping into corn syrup.
And under Lynn's light and firm direction, Murphy's performance is both distinguished and disciplined. His comic brilliance is at the service of the story and he positively shines with a number of diverse and zany impersonations, most enjoyably a Jesse Jackson takeoff.
The supporting players are a terrific, oddball ensemble, recalling Sturges' crazy-character caravans. Sheryl Lee Ralph, as Jefferson's curvy cousin, properly oozes misdirected drive, while Grant Shaud, as Jefferson's wonky-honky aide, epitomizes the nerdish element of corruption. With his deep and croaky, Eugene Pallette-ish voice, Sonny Jim Gaines is a crusty delight as a homey staffer.
Tech contributions are distinguished by their apt, broad strokes.
THE DISTINGUISHED GENTLEMAN
Buena Vista
Producers Leonard Goldberg, Michael Peyser
Director Jonathan Lynn
Screenwriter Marty Kaplan
Story Marty Kaplan, Jonathan Reynolds
Executive producer Marty Kaplan
Director of photography Gabriel Beristain
Production designer Leslie Dilley
Editors Tony Lombardo, Barry B. Leirer
Costume designer Francine Jamison-Tanchuck
Music Randy Edelman
Casting Mary Goldberg
Sound mixer Russell Williams
Color/Stereo
Thomas Jefferson Johnson Eddie Murphy
Dick Dodge Lane Smith
Miss Loretta Sheryl Lee Ralph
Olaf Anderson Joe Don Baker
Celia Kirby Victoria Rowell
Arthur Reinhardt Grant Shaud
Terry Corrigan Kevin McCarthy
Elijah Hawkins Charles S. Dutton
Armando Victor Rivers
Homer Chi
Running time -- 105 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
Similarly, name recognition -- Murphy's name on the marquee -- should help Buena Vista with a big early turnout for ''The Distinguished Gentleman.'' Yet this Christmas candidate should pick up ample returns later on, based on its winningly broad comic program. Call it a boxoffice landslide for the Buena Vista party.
In this light reversal of ''Mr. Smith Goes to Washington, '' Mr. Jefferson is no idealistic, corn-fed do-gooder. He's not even a greedy pork barreler with his district's interests in mind -- he's just plain eager to slurp from the public trough.
The only Jeffersonian principle he holds near and dear is the ''pursuit of happiness.'' Washington, D.C., to him is just one big smorgasbord of under-the-table opportunity. When Mr. Jefferson goes to Washington, along with his team of homeys, he's more than eager to use his office to fullest advantage, to partake of the perks, the PACs, the payoffs, the honoraria and, although he's never studied under Henry Kissinger at Harvard, the aphrodisiac of power.
Unencumbered by an agenda and not indebted to any interest groups for his election -- save for a geriatric Jewish rest home -- the street-smart Jefferson is ready to wheel and deal. He cons his way onto the most powerful and corrupt Congressional committee, greasing its chairman (Lane Smith) and lining his pockets with fat-cat cash.
With a fractured, Preston Sturges-like slant on institutional largess and human greed, screenwriter Marty Kaplan has served up a hilarious satire on Congressional malfeasance through the not-so-innocent eyes of a small-time con man learning the ropes of big-time pocket-lining.
Although the narrative dips to a manipulatively melodramatic crisis point, director Jonathan Lynn nimbly keeps it from dripping into corn syrup.
And under Lynn's light and firm direction, Murphy's performance is both distinguished and disciplined. His comic brilliance is at the service of the story and he positively shines with a number of diverse and zany impersonations, most enjoyably a Jesse Jackson takeoff.
The supporting players are a terrific, oddball ensemble, recalling Sturges' crazy-character caravans. Sheryl Lee Ralph, as Jefferson's curvy cousin, properly oozes misdirected drive, while Grant Shaud, as Jefferson's wonky-honky aide, epitomizes the nerdish element of corruption. With his deep and croaky, Eugene Pallette-ish voice, Sonny Jim Gaines is a crusty delight as a homey staffer.
Tech contributions are distinguished by their apt, broad strokes.
THE DISTINGUISHED GENTLEMAN
Buena Vista
Producers Leonard Goldberg, Michael Peyser
Director Jonathan Lynn
Screenwriter Marty Kaplan
Story Marty Kaplan, Jonathan Reynolds
Executive producer Marty Kaplan
Director of photography Gabriel Beristain
Production designer Leslie Dilley
Editors Tony Lombardo, Barry B. Leirer
Costume designer Francine Jamison-Tanchuck
Music Randy Edelman
Casting Mary Goldberg
Sound mixer Russell Williams
Color/Stereo
Thomas Jefferson Johnson Eddie Murphy
Dick Dodge Lane Smith
Miss Loretta Sheryl Lee Ralph
Olaf Anderson Joe Don Baker
Celia Kirby Victoria Rowell
Arthur Reinhardt Grant Shaud
Terry Corrigan Kevin McCarthy
Elijah Hawkins Charles S. Dutton
Armando Victor Rivers
Homer Chi
Running time -- 105 minutes
MPAA Rating: R
(c) The Hollywood Reporter...
- 12/4/1992
- The Hollywood Reporter - Movie News
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