JUMPING ON THE BANDWAGON: "Suicide Squad", as bad as everyone says?...

(Because they lovingly don't allow you to embed the trailer on Blogspot.)

With "Suicide Squad", there's no denying it ain't good. But what the real question is: is it deserving of all of the negative attention that it is currently getting? Is it really on par with the equally infamous, albeit ridiculously titled "Fant4stic" reboot?

God no, as it stands it will never extend beyond mediocre, at least in its current theatrical cut. It's by-the-numbers, confused as to what it actually wants to be, mixing some bizarre and irrelevant sequences which serve the sole purpose of being 'edgy' with the Marvel-esque banter between characters. It's disjointed, but as its happens, there's still some entertaining aspects to enjoy. Will Smith as Deadshot was somewhat surprising, standing as one of the few likeable characters of the squad. The material he's handed isn't exactly gold, especially the obligatory eye-rolling line of reference to the film's title, but his own charm shines through what would have been utterly forgettable if it were handled by another actor, rather than just simply bland.

Referring back in the mean time to the awkward structure, the rumours of the theatrical cut being handled by the house responsible for the film's trailers is very much believable. At times it felt as if I paid to see a feature-length music video, the montages and use of licensed tracks got that out of hand. The whole film is stuffed with licensed tracks, ranging from The Animals' "House of the Rising Sun" to Kanye West's "Black Skinhead". Now, there's no issue with licensing tracks to create a specific tone or believability within a film, but this is ridiculous, perfectly showcasing how this film perceives its audience. Any moment of silence is sure to bore, there has to be music playing at a constant to keep their attention grasped! The use of silence or lack of sound can have a powerful effect, be it either a chance to grab a breather or ratchet up the tension, it would ultimately cause these outbursts of music to be much more impactful and not become just another montage. An exercise of restraint places faith into the audience to have even the slightest amount of intelligence, but instead it opts for stupidity and excess.

The holes to be found in the plot are certainly plentiful as the first act scrambles to get the characters formed before it throws them against the next giant blue beam in the sky. This time in the form of an enchantress attempting to take over the planet. I've never heard of that one before. It's wackiness in the beginning seems entertaining enough initially before it eventually just goes in one ear and out the other. By the time it changes gears, the damage has already been made. It falls into place with so many other superhero movies, the squad team up and face a climactic fight against the evil force responsible for the film's conflict. It gets the job done, but utterly forgettable. Passable, that is, if you play devil's advocate and choose not to pick it apart. (But why should you really?)

The cast is the main reason there was any semblance of fun to be had with this film, in addition to Will Smith's charm there is Margot Robbie as Harley Quinn. She does a pretty great job embodying the character, fitting the role pretty perfectly. (A reason to look forward to a Harley Quinn spin-off in the hopefully near future.) Joel Kinnaman is your generic army man and Jai Courtney, bless him, has been swept off to the side, simply there to provide some completely unnecessary and often ham-fisted comic relief. That's because an Australian handy with a boomerang is good enough to take down an ungodly supernatural force capable of destroying human-kind. Maybe one day he can finally happen. They really should have stopped after "Terminator: Genisys", to be perfectly honest.

Now, there are plenty of issues to be found in "Suicide Squad" to continue to babble on about and it is most certainly a product of excessive studio meddling, contrary to what director David Ayer has been saying. Pulling a Josh Trank can only cause your career to go downhill and frankly, who can blame him? All we can hope is for the inevitable 'extended cut' to come along and hopefully restore some clarity. Or to prove that this film may have and forever will be a bit of a turkey. It's mediocre. Yes. On par with "Pixels"? I'll let you be the judge.

THE NIGHT JOSH (NIXON) CAME TO OUR APT.: "I Love You, Honeybear" and his new single, "Real Love Baby"...

Upon first glance, "I Love You, Honeybear" seems nothing more than a fleeting folk rock act, to which is instantly relieved as the title track kicks in and sweeps you off your feet. Instead, it's a concept album. About who? Himself [Josh Tillman], dealing with his personal life and as he put it: "engaging in all manner of regrettable behaviour."

Contradictory is one of the words that springs to mind when I think of this album, a beautiful, almost whimsical backing with lyrics that showcase Tillman's cynical nature and dry humour, a notable exchange coming from my favourite cut of the album "The Night Josh Tillman Came To Our Apt." The track opens with a poke at those certain people who throws 'literally' into way more sentences it than it should, (certain people we all know) the only response being a sarcastic retort: "Well, it's literally not that." The same goes back at the beginning with the title track, ranging from part-autobiography about his wife or 'honeybear' to straight up satire, the use of 'honeybear' being a joke in and of itself. That is what is so wonderful about this album, the humour being there for only those who want it. "I Love You, Honeybear" could serve as yet another feel-bad tale of unrequited love if you want it to, but pay attention and a whole new layer opens up for repeat listens to take advantage of.

That aside for the time being, the sound that this album adopts is quite unlike any other folk rocker in recent memory. Strings, trumpets and all-kinds of arrangements are used throughout as Tillman's voice calls for your attention. This sprawling style takes an electronic turn on the early "True Affection", oddly one of the most straightforward tracks on the album, commenting on society's turn towards technology (matching the change in tone) and how it leads to emotional frustration. "When can we talk? With the face? Instead of using all these strange devices?", Tillman pleas.

Next in the track listing is the aforementioned 'notable exchange', opening with a sweet guitar riff, maintaining a similar tone throughout its run time as he, Josh Tillman, referring to himself in the third-person, tears a past lover, who is certainly not his 'honeybear' to shreds. "The malaprops make [him] wanna fucking scream," he says, and is frankly well-put. It could serve as a parody of himself as it further unravels, third-person and all, as almost all of his thoughts reflect back onto him, showing his true colours. He is only as bad as what he is saying. That or, it is really as bad as it seems. Begs for choking could only be obliged.

"When You're Smiling and Astride Me" is the closest you're ever gonna get to a sentimental narrative on not just only this album, but with Tillman's entire line of work, serving as another ode to his wife. The opening vocal gets you humming along, truly sugary in its nature and one of the truly touching moments of the album. This almost-sentimental theme is continued on the final track, "I Went To The Store One Day", also written about his wife and how they originally met in a store naturally.

One things for certain amongst all tracks: such a high standard is set amongst them that it is near impossible to fault for what they strive to achieve. Conceptually, it's pretty damn near flawless in critiquing his very own flaws. Be it harshly insulting a past lover to wildly praising his current, it is what it is. Josh Tillman, take it or leave it. "I can hardly believe I've found you and I'm terrified by that," as Tillman thinks about his 'honeybear'.

Alongside this comes "Real Love Baby", a wonderful little single that continues much of the same style that is found on "Honeybear", reverb fully intact. Satire takes a backseat however as an air of humbleness is found, as he's learned to surrender his love to his significant other. He's the flower and his wife is the bee. It's a matter of compromise and that's perfectly okay. It's honesty is bolstered by a soothing tune, especially in its outro as the chorus is burned into your ears, straightforward and heartfelt in a manner that you never thought he could show without cracking a joke.

HELLO FRIEND: "Mr. Robot" Season 1 review and recap...

With season 2 very much underway and all of its twists and turns yet to be unravelled, a recap of the now hugely popular "Mr. Robot" or an introduction to those who haven't started the phenomenon would perhaps be appreciated. No need to worry as this is certainly spoiler-free! Just a plain and simple look at "Mr. Robot": what it is, its unique quirks and ultimately what has boosted it into success.

Welcome to New York City, the home of one Elliot Alderson and you, the viewer, are his new friend. That's not in a figurative sense either, you serve as a passive force in the story as it unfolds with Elliot giving a nod to your viewership every once in a while. The fourth wall isn't just broken; it was never there. A simple yet contradictory immersion into the story. As simply put, this direct point usually serves as a form of parody or a form of comedic effect and to take you out of the experience, but this does the opposite. It breaks the fourth wall but in a sense that makes sense within the character's frame of mind, and as you can imagine, a person with an imaginary friend is in this case not exactly the most stable as you will come to find.

It starts straightforward enough, but as the season takes its toll, you're gonna have to learn that at some points, what is on screen and what is actually happening with the characters are two different things. In a manner quite akin to "The X-Files": trust no one. As the subversion kicks in, good luck putting it down. If you're anything like me and this hooks you, this season will be done within a matter of a week or less depending on how avid you are in terms of binge watching. It culminates into a wonderfully self-aware commentary on society and how the team behind fSociety decide to try and take it on head first with their attempts to end one of the world's largest conglomerates, E Corp. (Or Evil Corp as Elliot loves to put it from his perspective, another slight detail that is only perceived in scenes with his presence.) 

When you hear the title and the premise of hackers attempting to break down society, it does sound awfully cliche. You see, that's where I and presumably you are wrong. It's not that, in fact its far from that. There are some issues present, albeit those are predominantly in regards to spoiler territory, but overall with its premise and most importantly execution there is very little to go wrong with "Mr. Robot". Perfectly cast and acted, most notably by the lead Rami Malek with his dry humour and incredibly expressive eyes, which in some scenarios, do all talking that needs to be done. Christian Slater also as the titular character is also to be commended, with his first notable role in years, proving he's still got some oomph left in him. The style involved is peerless for a TV show, with exceptional presentation, cinematography and use of licensed tracks to set the scene, my favourite track used being "Sound & Color" by the Alabama Shakes. Sam Esmail should be proud.

There's just so many areas that this show can be praised for and whilst certainly it is understandable for some to dislike it, there is at least some aspects on offer for anyone to enjoy or appreciate. While the show doesn't revolve around it so much as the character of Elliot, the hacking process involved in the show is unlike any other fictional programme or film I've seen with one exception. Instead of dumbed down processes seen in shows like "CSI", (you know exactly what I mean) it is as close to the real thing as you can get whilst still remaining accessible to viewers who are unwitting to such uses of technology. It isn't treated with utmost importance either and being toted as a major selling point in the exception of Michael Mann's "Blackhat" in which it decides to juggle realistic elements with almost ludicrous plot points and action sequences. It is just there and present as a tool for the characters to utilise. The show can come across as indulgent or potentially pretentious as some points, with itself being aware of that, but the use of hacking and technology certainly isn't.

And with that, what are you waiting for? There's plenty to catch up on and plenty more in store for "Mr. Robot", and if you don't at least give it a try, you're missing out on what could be your next favourite TV show.

LIFE BEFORE THE ROAD: Ricky Gervais' "The Office" and the art of the mockumentary...

Hugely successful and brutally deadpan, "The Office" when it was first released made its mark, commenting on the often awkward nature of social interactions between employees in what can only be described as a dreary workplace, shifting paper to the highest bidder in Wernham Hogg.

Now before everyone's favourite David Brent moves onto life on the road, it's a good time to take a look back at the show that collectively launched the careers of both Ricky Gervais and Stephen Merchant as well as being regarded as one of the best British sitcoms of all time. The latter of which I'd be inclined to agree with. It begins as something unassuming but by the time I hit the third episode and Tim is given a certain inflatable birthday present I honestly couldn't stop laughing, bizarrely what could be considered the most immature joke of the series is what made it click.

You start by squirming in your seat as you're presented by these clumsy social scenarios but as you become accustomed to the humour on offer, it's the gift that keeps on giving, it's short length allowing it to maintain its freshness and never loses steam which is ultimately funny in itself given the situation that these characters find themselves placed in. A dead-end job in the paper industry with a desire for something more, ranging from psychology and illustration to the certainly more ambitious reunion of Foregone Conclusion. The mockumentary style that it is presented in works not only in the manner that it certainly saves a few quid but also in accentuating what it strives to be. The people who you see are their characters and this is just their way of life, showing further insight into what they're thinking with a straightforward interview format to justify their actions and make it so a certain Brent isn't completely detestable.

Whilst there's no question as to whether or not you should give this a watch, you'll certainly find out quickly if it is indeed your thing, "The Office" is not the first of its kind, at least in style. Ranging all the way back into the '60s with the Beatles' "A Hard Day's Night" to the modern vampire undertaking seen in "What We Do in the Shadows" the mockumentary has been staple in both film and television for decades with its often absurd nature, especially in the latter film. It's potential for parody is immense and can often be used to shine a light on certain issues or topics that it may feel relevant to discuss from the perspective of characters who may unwittingly be apart of the issue present. A prominent example of this would be in "The Office", whilst the show does not center around this, the character of Gareth is hardly a gentleman, let's say.

A short and unsuspecting series about office workers proves to be a hilarious romp with an interesting angle to back it up, leaving me waiting for the return of Brent, coming sooner rather than later thankfully. As the former Wernham Hogg boss rather optimistically posed: "Live fast, die old."

(JOSH LISTENS TO) CAR SEAT HEADREST (BUT SAYS THIS ISN'T A PROBLEM): "Teens of Denial" album review and sampling discussion...

The albums that you weren't anticipating are always what end up being your favourites. This is the case with the new album from Will Toledo's project Car Seat Headrest, as it caught me off-guard with its release back in May and I have been steadily listening to it ever since. It simply has me coming back with its lo-fi charm, incredibly catchy guitar hooks and meaningful lyrics.

Once you get the past the absurd name and get onto the first track, (eventually coming to understand that his vocals were recorded in Mr. Toledo's car with his earlier releases) it just reels you in. "Fill in the Blank" is a perfect starter, giving you a taste of what is to come with its quirky opening vocal snippet, punchy guitars and angsty-ridden vocals. This is beyond cemented with the line; "If I were split in two I would just take my fists, so I could beat up the rest of me." No further explanation needed. It's a quick and dirty opener featuring a riff so upbeat and attention-grabbing that it initially distracts you from the darker side the lyrics present. It brings up a comparison to the garage rock tinge of The Strokes, but given their material post-"Is This It" that would be more of an insult than anything anywhere near positive. Its ultimately irrelevant, but the music video has to get bonus points for its clever premise:

What follows next is the album's lead single "Vincent", throwing a curve ball with a slow and gradually building twang before delivering an almost funky flavour, utilising saxophones and trombones for certain sections, serving as a memorable counter to the more straightforward tone that just preceded it. The trend continues throughout the rest of the album, delivering familiar yet inventive lo-fi thrills that the project has become known for since their most notable release "Twin Fantasy" back in 2012. The delightfully titled "(Joes Gets Kicked Out of School for Using) Drugs With Friends (But Says This Isn't a Problem)" is a psychedelic comedown that climaxes with a meaningful and catchy refrain that nods to conformity and the repetitive alienation that drug use eventually entails, cycling between whether drugs or friends are better than one another. 

The discussion of sampling comes into play with the following track, formerly known as "Just What I Wanted/Not Just What I Needed" and now known as "Not What I Needed" after a sample failed to clear in the previous variant. As the title alludes, it utilised an unauthorised sample from one of The Cars' most famous hits "Just What I Needed", leading to a recall of all copies of the original as the sample was thought to have cleared but bounced due to their front man Ric Ocasek disagreeing with the usage of samples. Whilst it is certainly within his rights to do so, as it is his own original material, to not even consider the context of its use is certainly debatable as Toledo states: "I don’t think that Ric ever listened to the album or the song, which is the only part that really bothers me." The lack of an open mind in the homage that only ever had good intentions is boggling, with the entire conversation that this issue sparked revolved around the legalities and not the artistic merit that the sample entailed. Naivety aside, that is obviously not the case when it comes to an individual's copyright ownership. A great shame nonetheless, as having heard both versions, it continued the theme of familiarity but with a twist before the song subverts your expectation and does its own thing. A tribute put to bed by a last minute technicality. What we ended up with is of equal strength however, with Toledo's desperate squeal: "I know when I'm being catered to!" ingrained into my brain for many days even after hearing it initially.

Yet another notable moment on this album comes with the track "Drunk Drivers/Killer Whales", an anthem for all the drunk drivers out there. Don't. "It doesn't have to be like this," heard prominently on its way out, lending itself both to its obvious message against drunk driving but to life as a whole. Shed the self-loathing and get on with it, not in captivity, much a reference to its alternate title. As the line is proclaimed, it ties it all together, delivering a satisfying climax that is riveting.

What is ultimately my favourite track is the epic 11-minute behemoth that is "The Ballad of the Costa Concordia", posing life as if it were, as optimistically as ever, a sinking ship, it's disastrous namesake. A slow build that comes to an intense spoken-word breakdown that shows its just sometimes too much to handle. It in the case of its thematic and its real life basis, it certainly was an expensive mistake. How the hell was he supposed to steer his ship? The dour tone in his voice as the guitar heightens and the tempo builds accelerates the feeling of helplessness whilst still remaining accessible and simply a joy to listen to. That's all only by the time the track reaches its mid-point, the track that keeps on giving, throwing so many ideas at you with its lyrics it almost becomes overwhelming, much like the scenario that the song places itself in. This track alone feels like a long journey that's come to a bittersweet end, the pressure gradually builds, you breakdown, and then you give up.

The album as a whole is what it is: it's guitar-driven indie rock with an incredibly sharp wit and ambition that backs it up, it's personal in nature, proving to you and me that this could only have come from Will Toledo, it's unique to him. It just so happens that what he has to say is enthralling. It's lengthy and is borderline indulgent, but stick with it. Humour it. It pulls you in with catchy hooks and keeps you coming back with its vulnerable insight into the man himself, with so many memorable lyrics and quirks to pick from. How was I supposed to know how great this album truly is?

THANK GOD FOR FREE TRIALS: Kanye West's "The Life of Pablo" and the TIDAL paywall...

The self-proclaimed "god" of rap Kanye West is back with his seventh studio album which finally dropped on Valentine's Day, strings attached, those strings firmly tied to the premium streaming service TIDAL...

Leading up to the eventually titled "The Life of Pablo"'s release, one thing was certainly well-established: Kanye knows exactly how to build up overwhelming amounts of hype and saturated expectations with the several name changes and constant track list restructures that were scattered across social media. From "So Help Me God", to "Swish", to "Waves" before finally settling with what we have now, it gave numerous outlets and subsequently people reason to keep talking about this new release; word-of-mouth being one of the most powerful tools to generate interest.

Then the bombshell drops, Mr. West, supposedly in a whole $53 million in "debt" decides to make Pablo exclusive to TIDAL, the aforementioned premium music streaming service that promises to provide high-fidelity music in an age where most listen to their music for free on YouTube before taking your money without actually providing the album in return. But even past the technical issues that can come from any service such as TIDAL, it only just narrows down the audience that could potentially purchase and listen to Pablo, with two options being present to those who aren't: abuse the option for a free trial by signing up, listening to the album and cancelling said trial, or if you don't have or don't want to use your credit card, resort to piracy. In that case, it's a lose/lose scenario as either way, no one gets paid. It's baffling to me personally as to why you would deliberately restrict the target audience of a product that was clearly intended for the masses to something that is nothing more than an a niche, unless you're the Wu-Tang Clan of course.

Bizarre release and marketing choices aside, is the album worth it? Yes and no. It's honestly a mixed bag - with more meaningful or at least intriguing tracks such as "Ultralight Beams", "30 Hours" or my own favourite, "Real Friends", as well as a couple other exceptions, everything else in between feels out-of-place or simply just filler. While its all well-produced as you'd come to expect from Kanye (well, for the most part, here's looking at you, "Father Stretch My Hands"), the lyrics are just weak - providing no insight or themes, it's literally just Kanye talking about getting bleach from a bleached asshole on his t-shirt (no joke) or him spinning yet another verse about how Nike should feel sorry that they didn't make a deal to sell some ridiculously overpriced trainers.

It really makes you think, this album could benefit so greatly by simply just focusing the track list instead of just throwing it around incoherently just so it can be posted on Twitter every other week. The one track that stands out sorely amongst its following tracks is the opener, the previously mentioned "Ultralight Beam", which would have worked perfectly as an outro to reflect on the song's major theme of religion and eventual closure. But as it stands, the song that comes straight after is just about how Kanye wants to fuck a model, the consequence seen in the previous paragraph. Just to clarify - I have no qualms about the content, I honestly don't care about being "offended" by explicit lyrics, but when you have such a mindless song stand straight after what is one of the highlights of the album, it just diminishes the effect that the first track had.

That is just one example of how the track list just feels like a tug-of-war between two differing themes of vanity and introspection, it doesn't transition from one to the other, it just juxtaposes between the two from track to track and it is honestly frustrating. There is a good album in here, it just desperately needs to be rearranged in a manner that actually makes sense instead of the mess that its currently sold as.

The connection is clearly there; tracks like "30 Hours" make direct references in title to "Ultralight Beam" but they're both split by what is a full album's length apart. What happened? Instead of doing a logical transition from basking in the self-indulgent fame-driven lifestyle heard in tracks like "Famous" or "Father Stretch My Hands", then tiring of said lifestyle referenced in the notable "No More Parties in L.A." before reflecting on his own thoughts and feelings in "Real Friends", "30 Hours" and "Ultralight Beam", they're just scatter shot - it's almost as if this was how they were arranged but at the last minute Kanye just decided to pick the order out of a hat. But who knows, it's honest speculation, but speculation that needs to be made when its the difference between what makes a missed opportunity what could have been one of the best releases in 2016 so far.

I'M THE MAN WHO LOVES YOU: Wilco's "Yankee Hotel Foxtrot" and it's troubled release...

There's no question that "Yankee Hotel Foxtrot" is a god's honest classic, remaining the stand out album from Wilco's long and established discography. What is often not known however to most passive listeners is the trouble behind this album in its production and delayed release and how the military-lingo filled title came to be.

The advent of Yankee comes shortly after the second Billy Bragg collaboration "Mermaid Avenue Vol. II", which was not to be the last of their collaborations. While touring to promote the album, Wilco's main man - the wry humoured Jeff Tweedy was offered the opportunity of a further collaboration with other musicians which eventually stemmed into the relatively short-lived side project Loose Fur. It was because of this association that drummer Glenn Kotche became what is still a key piece of Wilco, after his predecessor was dismissed due to significant differences in what the next step should be, a recurring theme in this album's production, with a similar fate happening to former guitarist the late Jay Bennett. However, this still wasn't the end their troubles.

After recording finished in what was early 2001, the deal was struck for a September 11, 2001 release. This was until the major merger between AOL and Time Warner was made, causing the loss of several hundred jobs, such as those of the Time Warner-owned Reprise Records - including the band's main seconder, the president of the company. His replacement tasked with the choice as whether or not to release the completed project, which was stemming to one option as a result of merged business' subsequent financial woes: unlikely. A buyout was made shortly after by the band, which ended up being a penniless departure with Reprise being admirably accommodating. That is, before a certain article came along and stirred up some unnecessary controversy, with the new-found president of Reprise alleged to have stated that "the record was so bad it would kill Wilco's career," oh, the irony. Even if the album was to go ahead with its intended release, the significance of their chosen date wouldn't exactly have been too kind to the album in more ways than one.

To spite what would be a heavy delay to its physical release, the band decided to stream the full album only a week after its intended release, opting to tour afterwards which was successful and even regardless of its limited release, fans still knew the words to their what were officially unreleased tracks.

In the mean time, the big release was still almost a whole year away, with Wilco opening bids for rights to distribute their album, two of which were the now-defunct Artemis Records and the long-standing Nonesuch Records. There were numerous other record labels teething for the album, their bids all dismissed by the spearhead: if the label did not have a roster of artists that matched his taste, they were put by the way side. Pushing November 2001, Wilco collectively signed with Nonesuch Records. Funny thing about that, scratching past the surface reveals that Nonesuch is owned by AOL Time Warner. The irony continues. Thus, in a twist of fate that not even a Wikipedia article could present without cracking a cynical grin, Wilco recorded and produced an album with a company that thought of their work as a career-killer, before reverting their rights and continuing to sell said rights to the same affiliate.

But, it finally came out, and to great fanfare: widespread commercial and critical success.

And all it took was 2 band members, 2 record labels and a self-titled documentary for it to reach that point. A small price to pay for what is, in my opinion, one of the greatest albums of all time. From the moment you hear those introductory piercing notes that will indeed break your heart to the reflective ambience in reservations, it will keep you in it's lo-fi, almost psychedelic trance. There aren't really any words to describe it further than that, it can be a slow grower, but once it's there it never lets go. Something you do truly have to experience for yourself.

TWIN PEAKS: FIRE WALK WITH ME (1992) review & retrospective, "The last seven days of Laura Palmer..."

...better late than never?

TWIN PEAKS: FIRE WALK WITH ME was the return to the titular town, where no one is innocent - the same goes for the critics and fans like who watched the film upon its release. No one liked it. Released in 1992, a year after the show had run its course and David Lynch at the helm once more...

What happened, and why is it celebrating critical reappraisal 20 years past its release?

The curious case with this film and the point that everyone has with Fire Walk With Me is a simple one: it has little to do with Twin Peaks, at least in style or tone. Instead it plays like standard Lynch fare - more akin to his features, with some quaint and odd echoes to his past films such as Blue Velvet, handling similar themes. It's non-linear structure and seemingly incoherent narrative lost fans, including myself on a first viewing, baffled by the images that had passed my retina. It takes a deeper look to fully appreciate what Fire Walk With Me is, which is not Twin Peaks, the goofy, loveable and ever so slightly uncomfortable look into a small town, but Twin Peaks, the horrifically dark and sinister place with the façade of an idyllic small town. The literal fourth wall breaking moment at the very beginning with the smashing of a TV screen should be enough evidence to suggest that this is to subvert expectations and play with it's own space, the big screen, not the small.

It touches upon all of the elements that would have been in Twin Peaks if it weren't on TV or more appropriately, a network looking to play it by the books, not taking any risks. Drug abuse, violence and psychological torment play key roles in this film, at the centre of it - a girl who is about to give into said torment and end her own life. It goes back to fill in the blanks, Lynch himself coining the story as not the obvious death (or at least it should be obvious) of the lead, but when. When is Laura going to die? It's this uncertainty which is what Fire Walk With Me hinges upon, it constantly unnerves you. It's that feeling that many horror films attempt to replicate - that sense of dread, you know something is going to happen, but when? When it does happen, it feels like a great release, like a burden has been lifted from your shoulders because you know that Laura is free from her torment, from the killer BOB, from her revolting nightmare.

As ultimately, when I think of this film, I have a horrible feeling inside: a feeling I have for no other film, this film disgusts me... but that's what I love about it. That's what keeps me coming back. It's taken several years for people to realise this - Fire Walk With Me exists as its own entity, detached from the TV show to show Twin Peaks from a different perspective: the disgusted and haunted perspective of Laura Palmer and how she sees it before her untimely demise. I feel as Laura does and I'm not alone in this feeling.

Looking forward now, onto the already covered subject of a revival, most fans will be clamouring for that same old goofy Twin Peaks, that is what shouldn't be expected of the return and I believe it's third season will be much more akin to this misunderstood prequel, a much, much darker approach. Either way, be it like the show or the film, or even perhaps a mix of both, I look back to Fire Walk With Me and can't help but love it, and look forward to the small screen eagerly for the return of the cult classic - but maybe in a darker light.

Under the sycamore tree...

I'm not alone in seeing past Fire Walk With Me's undeserved hatred: http://www.telegraph.co.uk/culture/film/film-news/11153925/Fire-Walk-With-Me-the-film-that-almost-killed-Twin-Peaks.html

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..."