It's almost impossible to know where to begin with a review for this film. From the very beginning, director David Lynch lets the viewer know that this is not just a two-hour-and-fifteen-minute episode of the cult classic television show (that he and writer Mark Frost created) put on film and released to theaters. However, this film serves as both a prequel and a sequel (of sorts) to the T.V. show.
The basic summary of the plot is that this film is essentially a eulogy to one of the television's central characters: Laura Palmer (of which we saw precious little of in the actual show) and an exploration of her last seven days in this mortal coil. The film depicts her many struggles; these include her drug abuse, her sexual promiscuity, her struggle with maintaining innocence within her dark lifestyle, and her crumbling relationships with her best friend Donna Heyward, her football-hero-boyfriend Bobby Briggs, and the true love of her life, James Hurley.
The film also explores her strained relationship with her father (who, if the viewer has watched the t.v. show will know, brings upon the untimely demise of his own daughter) and her having to cope with the struggles of living at home with a psychotic molester. In addition, the film explores the mythology created in the t.v. show surrounding Bob (The evil spirit that possesses Laura's father) and the Red Room/Black Lodge(where Bob and other strange entities roam in a zigzag patterned room surrounded by red curtains and sparse furniture).
What is most amazing of about the film is how it dove-tails many minor characters from the show and most of the clues that were given about Laura Palmer's murder and weaves them almost seamlessly into the plot. The prologue details the murder of Teresa Banks (only mentioned on the t.v. show) and how the investigation a year prior to Laura's own murder ties in with the show and plot of this film. Such attention to detail pays off and really bring characters like Ronette Palaski (the lady wondering aimlessly in the pilot episode) to light with a certain appreciation that wasn't there before (There is a tear-jerking scene towards the end that shows Ronette as an angel, symbolizing that she will be the one who will help to bring Laura's murderer to justice)
Another aspect of the film that fans will sure to appreciate is how the film transports a few bits of the second season (after Laura's murderer had been revealed) and sort of goes back-and-forth in time and gives an illusion, if not a definite answer, to where the new show (coming in 2017) may go.
The film is a bit of challenge to watch, but in a way that was strikingly similar to the first viewing of his masterpiece "Blue Velvet". The first time watching any of Lynch's films will put the viewer through a state of utter bewilderment after viewing. Often times, one is left wondering what they watched, or if they had watched anything at all, and not just imagined it.
Personally, I rather liked the film (though I wouldn't say it was quite as brilliant as "Blue Velvet"), and found it to be a great addition to the "Twin Peaks" mythology. However, the film did have its flaws. While it is understandable that Lynch wanted to set this film apart in a way from the series as far as graphic content (such as nudity and violence), it doesn't feel completely necessary and therefore takes away a bit of the story's intentions rather than adds to the effect. Another is that some scenes feel longer than they should be and scenes that should've been longer are too short for the impact they were going for. (The unevenness may have mostly to do with the fact that the film was cut down from nearly four hours!)
It was very ambitious for Lynch to set out and make this film, tackling so many themes (the angst of teenage years, the loss of innocence in a picturesque town, time-travel between two worlds) as well as trying to please both fans of the show and newcomers to the world of Twin Peaks. And while, for Peaks fans, the film may disappoint on some level for not having all of the characters from the t.v. show (Sheriff Truman, Deputy Andy and "Hawk", Audrey Horne, etc.), it is commendable on Lynch's part that he did not just try to shoe-horn everyone's favorite characters from the show at the risk of corrupting the overall themes of the film. Therefore, Lynch deserves some credit, as he nearly hits home with all that sets out to accomplish.
Overall, this is a well-done film with Lynch at his darkest (with some of the themes and imagery being a bit of a throwback to the director's earlier films, especially "The Grandmother"). The acting is great all around (especially Sheryl Lee as Laura Palmer and Chris Isaak as Agent Chester Desmond-a character created specifically for the film), the soundtrack is wonderful and the lighting/cinema photography is excellent as per usual of a Lynch film. However, this film is not for all tastes and it is recommended to see the show first and then to watch the film, which undoubtedly brings more resonance to the proceedings.
