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Jeffrey Beaumont (Kyle MacLachlan) returns to his hometown of Lumberton, North Carolina after his father suffers a stroke. While cutting through a vacant lot during a walk home from the hospital, he discovers a severed left ear in the grass. And so begins the mystery of David Lynch’s “Blue Velvet.”
Jeff Goodwin was the makeup supervisor on the 1986 neo-noir masterpiece, and he looks back on the creation of that iconic ear in a new interview with Entertainment Weekly. “Blue Velvet” sent Beaumont into an underworld populated by a seductive lounge singer and a sadomasochistic pimp, but his troubles all started with that bloody, detached ear.
“David and I approached it like a character in the film,” Goodwin tells Entertainment Weekly. “We actually called it Mr. Ear.”
Before joining forces with Lynch, Goodwin »
- Zack Sharf
1987 / Color /1.78:1 / Street Date October 4, 2017
Cinematography by Jacques Haitkin
Written by Jim Kouf
Directed by Jack Sholder
After a demanding evening spent bumping and grinding at The Harem Room, a weary young dancer packs up her gear and exits the club to a chorus of catcalls. She responds by whipping out a state-of-the-art shotgun and laying waste to not only to the would-be lotharios but a good section of Hollywood Boulevard. Is this the continuing story of Abel Ferrara’s Ms. 45? No, it’s Jack Sholder’s The Hidden, one of the wittiest B movies of the eighties.
That stripper’s gun-happy rampage is just the latest in a series of increasingly bizarre crimes catapulting the baffled police into a futile game of whack-a-mole; as soon as the cops eliminate one gunman, »
- Charlie Largent
First Encounters at the Quad Cinema have included Kenneth Lonergan and Edward Yang's Yi Yi, John Turturro and Satyajit Ray's Pather Panchali, and two directors who have films in the Main Slate of this year's New York Film Festival, Greta Gerwig with Lady Bird watched David Lynch's Blue Velvet and The Meyerowitz Stories (New And Selected) director Noah Baumbach's First Encounter was Bruce Robinson's Withnail And I.
Serge Bozon, who is in the Main Slate program with Mrs. Hyde (Madame Hyde), starring Isabelle Huppert with Romain Duris and José Garcia, chose Ida Lupino's Hard, Fast And Beautiful with Claire Trevor, Sally Forrest, Robert Clarke, Kenneth Patterson, and Carleton G Young for his First Encounter.
Hard, Fast And Beautiful »
- Anne-Katrin Titze
It’s difficult to find an aspect of popular culture that Hugh Hefner didn’t influence during his long, remarkable life. Spanning journalism, television, film, fashion and, of course, sexuality, his impact on music is one of the least heralded aspects of his legacy. Over the course of two seasons, Hefner used his weekly syndicated variety show, Playboy After Dark, as a platform for a broad spectrum of artists.
Psychedelic sounds from San Fransisco (courtesy of the Grateful Dead), early heavy metal (provided by Deep Purple), country-tinged balladeers (thanks to Linda Ronstadt and the Byrds) and old-school crooners (like the »
- Jordan Runtagh
Hard-boiled meets undercooked to indigestible results in the heavy-handed “Wetlands.” This soggy stab at neo-noir finds Italian-born writer-director Emanuele Della Valle out of his element in a pretentious meller set on the Jersey shore. The various conflicts he’s concocted are neither psychologically convincing nor sufficiently ironical in genre terms to avoid a pervasive sense of cultural disconnect.
An indie piece of festival fodder that’s strangely devoid of much exposure at festivals — presumably it got turned down by the premiere outlets — this grab-bag of phony angst is being opened by Abramorama on U.S. screens Sept. 15. It won’t linger there long, but a speedy transition to home formats is unlikely to find it much more welcome there.
Perpetually grim Babel “Babs” Johnson (Adewale Akinnuoye-Agbaje) — first glimpsed in a flash-forward of high histrionic distress — is an odd fit in his new post as ranger in parklands outside Atlantic City. But then, »
- Dennis Harvey
2016 / 1:75 / Street Date September 26, 2017
Starring the One and Only David Lynch
Cinematography: Jason S.
Film Editor: Olivia Neergaard-Holm
Produced by Josefine Bothe
Music: Jonatan Bengta
Twin Peaks: The Return recently ended its 18 hour run on Showtime and with that it can be said that the 41 year old cable channel finally made good on its name. Directed by David Lynch and co-written with Mark Frost, The Return see-sawed from soaring fly-overs of Manhattan and Vegas to suffocating dungeons infested with oily-skinned ghosts. It was pictorial storytelling on a grand scale, a work of epic surrealism that challenged the capabilities of any ordinary television screen.
If Lynch and Frost viewed the 1990 incarnation of Twin Peaks as a relatively benign first draft populated by lovable eccentrics, Twin Peaks: The Return could be seen as a take-no-prisoners revision, »
- Charlie Largent
Among David Lynch’s many muses – Kyle Maclachlan, Laura Dern, Everett McGill, et al – Julee Cruise feels like one of the most important and ephemeral: her haunting songs anchored the soundtrack for the original “Twin Peaks,” and amplified the dreamlike atmosphere of “Blue Velvet” and, later, “Fire Walk With Me.” But the singer was none too pleased about the way Lynch treated her in Part 18 of “Twin Peaks: The Return,” according to a Facebook post Cruise made Sunday after the finale aired on Showtime.
- Todd Gilchrist
Twin Peaks: the Return was the culmination of Lynch’s life’s work. But its last, weary moments were surely proof that he’s bowing out on us
David Lynch’s debut Eraserhead was the greatest home movie ever made. Shot over five years in a disused stable block behind the American Film Institute where the director was living at the time, it was painstakingly constructed frame by frame by a group of committed friends – the very definition of a labour of love. Exactly 40 years later, Lynch has just completed his most personal project since. Twin Peaks: the Return may have had a starry cast, cutting-edge digital effects and an 18-hour run time. But at heart, it was just another home movie: the work of an artist coming full circle, incorporating everything he’s learned in four decades as a filmmaker back into the hands-on, Diy template he established with his first film. »
- Tom Huddleston
David Lynch almost directed Return of the Jedi. Yes, it's true. Who knows what George Lucas was thinking at the time. But Lynch did meet with the creator of the Star Wars franchise. And as David tells it, the experience gave him an immediate headache. There was no way this was happening. And it didn't. But it's interesting to think about what could have been.
This past Sunday, the Twin Peaks saga came to a close after 18 amazing new episodes. All directed by one of the two masterminds behind the cult series, acclaimed filmmaker David Lynch. And it still has fans confused, elated, and debating what it all means. David Lynch and co-creator Mark Frost are auteur artists in every sense of the word. And what they pulled off is as audacious as anything that has ever been attempted before. It's true art, and something we don't often see in »
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 »
Fall is a special time of year. Leaves slowly turn a different color. Daylight savings time gives us all a reason to fall back. And there are movies. Great, glorious, marvelously crafted movies! With the help of L.A. Weekly, we're breaking down exactly what you'll want to see and what you might not want to waist your time on over these last four months of 2017. Between It and Star Wars: The Last Jedi, we're getting a lot of crazy, cool cinematic excursions, some Oscar hopefuls and others not so much. But whatever it might be, we're sure there is an audience out there for it somewhere.
Many people wait for this time of year. They spend the majority of their time watching all the hot new TV shows. But there will still be a reason to get out of the house on the weekends. As Hollywood is making one »
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. »
Protagonist Pictures has announced that Elizabeth Debicki (Guardians of the Galaxy Vol. 2) and Isabella Rossellini (Blue Velvet) have joined Gemma Arterton (The Girl with All the Gifts) in the upcoming period drama Vita & Virginia, based on the love letters of Virginia Woolf and Vita Sackville-West.
Arterton will take on the role of socialite Vita Sackville-West, with Debicki portraying Virginia Woolf (a role that was originally reported to be filled by Eva Green). The film will also feature Rupert Penry-Jones (The Strain) and Peter Ferdinando (Ghost in the Shell).
“Vita & Virginia will be a fresh, provocative study of creativity, passion, sex and sexuality; and it offers an exciting opportunity to bring the story behind the creation of Orlando, one of Virginia Woolf’s greatest works to life in a bold, vivid, contemporary way,” states director Chanya Button. “With my lifelong passion for Woolf’s writing, it is a great privilege »
- Amie Cranswick
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 best things come to those who wait, and Big Ed Hurley (Everett McGill) has long been dreaming of the moment that opens Part 15 of Mark Frost and David Lynch's Twin Peaks revival. "I've been a selfish bitch to you all these years," says his one-eyed wife Nadine (Wendy Robie), who's walked a long way—a Dr. Jacoby/Dr. Amp gold, shit-digging shovel slung over her shoulder—to the cash-only Gas Farm that Ed has run for most of his life. She states the obvious: Ed is in love with Rr Diner propietor Norma Jennings (Peggy Lipton), and she, Nadine, has always stood in his way. Those days are finally over. Ed is reluctant to think of this as anything beyond another of his spouse's manic episodes. »
Nope, no Audrey Horne on Twin Peaks this week. I think the solution to her ever-deepening mystery won’t be wrapped up for at least a few more episodes. And for the record, I do not believe she is an actress or somehow trapped inside the soap opera “Invitation To Love” from the original series. I mean, c’mon, think about it, that makes no sense. She’s an actress in a soap opera playing a character with her own name? A soap opera that references events taking place in her hometown? That’s completely absurd (right??). That theory is »
Samuel Brace on Twin Peaks season 3…
Twin Peaks season 3 (The Return) had been something fans of the show, and of David Lynch, were dreaming of for years, and its revival has provided television viewers with some truly incredible moments, and some seriously beautiful filmmaking. But there is something about the resurrected series that just isn’t working. There is something about it that is leaving me a little indifferent to its existence.
David Lynch is a master, one of the few left in the world of cinema. His content has enraptured us for decades, inspiring a thought process regarding his work matched by very few in the business. There is nothing quite like a Lynch movie or episode of Lynch TV. The likes of Mulholland Drive (my personal favourite Lynch film), Blue Velvet, and The Lost Highway have so much to offer for those willing to have their minds twisted »
- Samuel Brace
Jodie Foster once remarked, “My favorite female director is Jonathan Demme,” which was her way of saying that Jonathan Demme understood women. Her statement runs parallel to the fact that most of Demme’s best films are about women, including The Silence of the Lambs, Rachel Getting Married, and Beloved, among others. Demme’s movies gave women the space to be complicated, daring, unlikable, and vulnerable in equal measure. His filmmaking understood the gendered dynamics at hand due to his creative process opening itself to everyone involved in the making of the film. Demme isn’t so much a controlling auteur as much as he is a guiding hand for the narratives that are born out of a collaborative process. His films have certain hallmarks such as musical, rhythmic editing and an expansiveness that bends beyond the central narrative and — to paraphrase an idea from Pauline Kael — into characters who »
- The Film Stage
So many horror movies recycle one formula or another with such predictability that it’s refreshing when one refuses to fit into a particular niche — no matter how messy its nonconformity may be. A good share of “The Ice Cream Truck’s” appeal is trying to suss just what writer-director Megan Freels Johnston was intending with a movie whose various elements of slasher flick, social satire and psychological portrait not only fail to mesh, but barely intersect. Are the tonal disconnects and narrative gaps deliberate? Were they casualties of a budgetary or editorial crisis? Whatever the explanation, this watchable if ultimately baffling exercise in suburban suspense is eccentric enough to be somewhat endearing, however exasperated those with conventional expectations may be by its thoroughly arbitrary close.
Protagonist Mary (Deanna Russo) is a writer and housewife who’s moved back to her hometown — where she doesn’t seem to know anyone, the »
- Dennis Harvey
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. »
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, »
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