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Posts Tagged ‘Kyle MacLachlan’

Twin Peaks: Fire Walk With Me (and 1992 – Weird Summer epilogue)

Friday, September 30th, 2022

Just as the Weird Summer of 1992 was wrapping up, New Line Cinema gave us arguably the season’s weirdest wide release. Sure, it played half as many screens as its fellow August 28, 1992 releases HONEYMOON IN VEGAS, PET SEMATARY II and FREDDIE AS F.R.O.7., but I think it’s fair to call it mainstream. There was awareness, it was based on a recently popular TV show, and it at least opened bigger than FREDDIE. As far as per screen averages it came in 4th place for the weekend.

TWIN PEAKS: FIRE WALK WITH ME is, of course, David Lynch’s big screen prequel to his pop-culture-phenomenon TV series Twin Peaks. I’ll get into my history with the show later, but for now I’ll just note that I’m unfamiliar enough that I watched this as pretty much an outsider, looking at it almost as a stand alone movie.

And at first it really does fit into the indie releases of ’92 – it makes sense as a contemporary of NIGHT ON EARTH, ONE FALSE MOVE, RUBIN & ED, and JOHNNY SUEDE. It tells the story of FBI Regional Bureau Chief Gordon Cole (David Lynch, ZELLY AND ME) teaming up stoic veteran Special Agent Chester Desmond (Chris Isaak, MARRIED TO THE MOB) and nerdy bow tie wearing rookie Sam Stanley (Kiefer Sutherland, RENEGADES) to investigate the murder of a teenager named Teresa Banks (Pamela Gidley, CHERRY 2000, HIGHWAY TO HELL) in the small town of Deer Meadow, Washington. (read the rest of this shit…)

The Hidden

Tuesday, October 13th, 2020

Many of you have been trying to tell me this for years, and it has finally gotten through to me: THE HIDDEN is incredible. It’s kind of a sci-fi/horror/action hybrid, and it hits hard on all counts. Makes sense that it’s director Jack Sholder’s bridge between the horror of A NIGHTMARE ON ELM STREET 2: FREDDY’S REVENGE and the action of RENEGADES, but I’d argue it’s more cinematic than either of those. It opens with a thrilling, Friedkin-esque car chase after a buttoned-up looking guy in wire rimmed glasses (Chris Mulkey, FIRST BLOOD, BROKEN ARROW, BARE KNUCKLES, THE PURGE, THE STANDOFF AT SPARROW CREEK) shoots up a bank. He stays very calm, sometimes mildly amused as he tears through L.A. in a Ferrari, occasionally running over people (including a guy in a wheelchair), blaring a heavy metal tape, sometimes bopping his head a little. Police absolutely riddle him with bullets and destroy his car at a road block – he steps out and laughs before getting blown up. Even that doesn’t kill him.

It does put him in the hospital, where a doctor is offended by how the detectives talk about this seriously injured patient. It probly makes more sense to him after Detective Willis (Ed O’Ross, LETHAL WEAPON, FULL METAL JACKET, ACTION JACKSON, RED HEAT) spews a monologue about all the murders, injuries and robberies the guy is responsible for, ending with, “Six of the ones he killed he carved up with a butcher knife. Two of them were kids. He did all that in two weeks. If anybody deserves to go that way it sure to hell was him.” (read the rest of this shit…)

Capone

Wednesday, June 3rd, 2020

“You know, this is what happens when people spend too much time in Florida.”

I can’t lie. Half of my interest in CAPONE was a curiosity about the legend of its writer/director/editor Josh Trank. If you know who that is, you probly know him for a meteoric rise and fall. The success of one found footage movie (CHRONICLE) led to coveted studio gigs – a giant super hero movie and a Star Wars spin-off. But FANTASTIC FOUR was drastically changed from his cut, he quit the Boba Fett movie before they could fire him, there was a weird story in the Hollywood Reporter about his dogs wrecking a house he rented, and he made the career-sabotaging faux pas of disavowing FANTASTIC FOUR on Twitter just before it was released to terrible reviews and box office.

Seemed like a cautionary tale, and I can’t deny a morbid fascination with it. I didn’t love CHRONICLE, save for its cleverness about fitting good camera moves into found footage, so I wondered how these powerful Hollywood people got, and then lost, so much faith in the guy. But when I saw FANTASTIC FOUR I actually found alot to like about it, especially in the discovering-their-powers scenes that I described at the time as “more inspired by THE FLY than SPIDER-MAN.” And I realized that he hadn’t come completely out of nowhere – he edited and co-produced BIG FAN, a dark comedy/drama I liked.

Five years after his fall into the Great Pit of Carkoon, Trank has resurfaced with a self-generated, independent project, not inspired by “geek properties,” but by one of those historical deep cut kind of stories some people get hooked on. CAPONE is about Al Capone not in his gang years, but the last year of his life, released from prison to live in a mansion in Florida as his mental and physical capacity deteriorate from syphilis and strokes. (read the rest of this shit…)

The Flintstones

Wednesday, June 14th, 2017

a survey of summer movies that just didn’t catch on

May 27, 1994

The Flintstones are an example of a pop culture phenomenon that’s long past its relevance, but it’s so simple and recognizable that it lingers like a ghost in the public memory. Or like a fossil! As the first prime time cartoon, it originally aired between 1960 and 1966, but more than half a century later – whether because of the spin-offs and TV movies, the vitamins and cereals, or just cultural omnipresence – almost any American could identify the show on sight.

That doesn’t mean they’ve given it much thought, though, because there’s not much to chew on here. I know I watched it for some period of my life, but couldn’t point to a favorite episode, or even a specific one. There are different stories, technically, but the joke doesn’t really go beyond “what if there was a Honeymooners type family sitcom, but with cave men?,” and with the gimmick that modern lifestyles and technology (cars, drive-in theaters, kitchen appliances) exist, crudely constructed out of rocks, bones, wood, animal skins, and talking, subservient prehistoric animals. The plots reflect the same middle class concerns as a normal show would – trying to keep your job to pay for the house, trying to make your wife not mad that you spend too much time out with your buddies – but mostly it’s that one anachronistic joke of “the modern stone age family.” It’s humor with one wink and a whole lot of taken-for-granted cartoonist ingenuity. (read the rest of this shit…)