TWIN PEAKS revival in 2016... scratch that... 2017: what made it so special to begin with?

I'll see you again in 25 years...

Twin Peaks was and still is a pretty perfect example of a cult phenomenon - still maintaining a large enough following over 25 years later, rife for a comeback, which is indeed happening after a brief scare involving David Lynch's departure and subsequent boycott. Crisis averted.

Enough baseless appraisal. What is it that made Twin Peaks so memorable? How is it that such a short-lived stint on America's then third place broadcast network could attract such a following?

One simple thing: character, for me at least. Everything within Twin Peaks reeks of character, even it's idyllic setting, but from the moment you're introduced to the FBI's Dale Cooper, you are succumbed to intrigue as he blabbers away diligently to his tape recorder also known as Diane. This quirk alone builds the charm that is ultimately Cooper, a charisma so great it becomes nigh impossible not to like him. This follows onto each of passing characters and their locale, crafting a sense of nostalgia, this coming from a viewer whom only stumbled upon this show in recent years.

It is simply Lynch's masterpiece, as together with partner Mark Frost, the two created a balance, notably restraining Lynch's abstract nature in his films, allowing the show to have a goofy quality that adds to its unique nature. On the note of restrictions, the restrictions of the show being on ABC and of course the show's downfall due to the network's incompetence more than anything is what hampered it's progress, in addition to the waning interests of both of the show's creators during the second season and horrific anti-climax during said season. This lead to that 25 year unsolved cliffhanger (that I thankfully wasn't even in existence to wait for), which will finally be resolved with the show's return, with the passage of time hopefully being manipulated to the show's benefit, seeing these bizarre and often juvenile characters pushing the envelope of grand or great grandparents.

Leading onto the cultural impact Twin Peaks brought, it's had countless references and parodies as well as influenced all forms of media, ranging from it's habitat of television, film and video games, with video games taking up a large percentage of the influence with such lovely titles as Alan Wake, Deadly Premonition or a ham-fisted reference in Gone Home that take liberties from the series whilst being their own unique property. It's not only what Twin Peaks brought to it's audiences from it's own face-level existence, but the aforementioned director behind it: David Lynch, but not his own individual talent, but the prospect of a big screen director coming to the small screen. Whilst now you have directors such as Martin Scorsese behind shows such as Boardwalk Empire and going so far as to praise television as the next great medium, it was a different story with this show's conception in 1990. Television was largely avoided by film makers up until that point, opting to stick with the one-time feature-length experience, missing out on the benefit of a lengthy continuous story that can grow over time, instead of being condensed into one sitting.

There is oh so much more that can be said about Twin Peaks, with it's return to be welcomed by the collectively open arms of it's fan base, with a final note to the fan base being: don't be surprised if the new series is more in the vein of Fire Walk With Me, which I myself would not be all too saddened by. Only more excited.

"Diane, 11:30 A.M. February, 24th. Entering the town of Twin Peaks..."

PUNCH-DRUNK LOVE (2002) review, "People are just crazy in this world..."

PUNCH-DRUNK LOVE is a 2002 film starring Adam Sandler, Emily Watson and Philip Seymour Hoffman, written and directed by Paul Thomas Anderson. This follows the bizarre Barry Egan, a novelty toilet-plunger salesman who finds himself caught in love with his sister’s co-worker and that's only the surface.

----------

A heartily different and trend defying film, Punch-Drunk Love is often considered the best of Paul Thomas Anderson’s films. There’s only one problem with it, at least initially…

Adam Sandler stars as Barry Egan, as aforementioned. His performance can only be considered a remarkable flair, a once in Sandler’s lifetime performance as it will sadly never be seen again. He plays his role as a frustrated dead-end worker perfectly for what is intended in the film and it is astonishing. It shows purely that Adam Sandler can act, but chooses not to. The late Roger Ebert put it quite simply at the film’s release: “He can’t go on making those moronic comedies forever, can he?” The answer to that supposedly rhetorical question being yes.

Emily Watson and the also late Philip Seymour Hoffman co-star, as Barry’s love interest and antagonist respectively. Both in contrasting roles and therefore both exceptional for contrasting reasons. Watson is charming, unassuming and bizarrely understanding of Barry, proving the age old saying that opposites attract. She is understated in her role, and ultimately brings to her character that less is more. Hoffman however, is over the top in every conceivable manner in the best way possible. Sleazy, just as the business he runs and at one point in a shouting and very explicit verbal battle with Barry, seeing him on screen brings an uncomfortable feeling also.

Written and directed by Paul Thomas Anderson, it is a delightfully quirky script with absurd dialogue passed around as if it is common place and uncharacteristic set pieces involving a crash and broken windows aplenty. It feels almost fairy tale, or if it set in its own fictional world where faces and broken language do the talking instead of the conventional niceties that we are accustomed to in the real world. It is difficult to explain, but easy to understand. An unnerving tone throughout the script and direction keeps you oddly on the edge of your seat and sometimes cringing away from the screen, traits not typically seen in a romantic comedy. It’s a P.T.A. film through and through. Adding onto the direction and that ever so distinct unnerving tone, characters move and act in a very specific way, as if his vision has come to fruition just as he wanted, the mark of a great director, you look at one frame of this film and you can tell what it is.

Score is by Jon Brion, once a regular with Anderson and later providing incredible scores on forthcoming films such as Eternal Sunshine of the Spotless Mind and Synecdoche, New York. This may just be his best work, as when you think of this film in addition to the frame, you think of the score. Repetitive and at a constant unease with high-pitched world beat instruments, it creates a sound that is astoundingly unique and completes the silly world that is Punch-Drunk Love.

Overall, Punch-Drunk Love on the surface doesn't sound like a romantic comedy, or a good one at that. It isn't. It’s more than that, the showcase of a usually limited actor, a twist on a tired and balding genre, a wonderfully personal stamp on cinema. Punch-Drunk Love is that.

"You can go places in the world with pudding... that's funny."

TRUE DETECTIVE returns in it's second season blues: a plea against early judgement...

I can't say I'm alone in saying that the first True Detective was an unexpected delight, taking actors not known for their dramatic gravitas and putting them in just that - a fascinating character study between Rust Cohle and Martin Hart, Matthew McConaughey and Woody Harrelson, the latter set of names eventually forgotten as you, or I at least, came to love their fictional counter parts in all their fatal flaws.

Past the acclaim of the first, in comes the second. Troubled from the beginning, the fledgling second season had big shoes to fill after the news of it becoming an anthology. A clean slate for another story to be told - daring to say the least. The hype was and still is insurmountable for the second after the first, which seems to be deeply disappointing fans and critics alike. With only the first episode aired as of this writing, the picture hasn't been fully painted yet; this is the pilot, our introduction into the world that is far too early to be properly judged, a point that some publications don't seem to understand.

You look through any articles relating to the return of True Detective and you will only find the words "bad" and "disappointing" scattered through each piece, and this to a certain degree is true, but as aforementioned, it is far too early to tell.

From my perspective, this second coming is promising. It struggles to find footing, each of the characters flailing for a plot point to grasp onto which was finally answered by the four star-studded and solidly acted vignettes intertwining by the episode's end. The mutual connection to one Ben Casper. The atmosphere and look is as thick and enriched as ever, from the second the entrancing riff of Leonard Cohen's "Nevermind" kicks in, you know you're in for a ride, regardless of it's prioritisation of style over substance. This is Nic Pizzolatto's show through and through, it's made clear that this is exactly what he wanted, even from this first vertical slice, and that is admirable to say the least.

Retreating back past my potential hypocrisy to my previous ham-fisted moral: reserve your full judgement until the story is told, yes, do have your opinions and thoughts on each of the episodes as they come, but don't treat them as if it is representative for the entire season until the entire season is here. TV critics prove to be frustrating, putting their foot down before the picture is present - colouring the minds of viewers before the viewers themselves get a chance to form their own opinion on the basis of a three episode head start.

The blame is not on the critics to be perfectly honest, as while aggregate review scores on sites such as Metacritic or Rotten Tomatoes have their place, they are taken far too seriously by some.

After all, it's not about what others think including myself. It's about what you think. However, consider this: give the second a chance, and for the love of god, don't compare it to the first, as it's not trying to be what it was before, but what it is now.

"I was not caught, I crossed the line..."

Check back for more thoughts about the second True Detective past it's finale on August 9. Then a conclusive tale can be told...