Tag: David Lynch

MOVIE REVIEW | ***FLOP WEEK 2*** Dune (1984)

In a nutshell, Bored & Dangerous says: “There’s nothing interesting about his movie. Not even in a WTF, train wreck kind of way.”

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“Some thoughts have a certain sound, that being the equivalent to a form. Through sound and motion, you will be able to paralyze nerves, shatter bones, set fires, suffocate an enemy or burst his organs.”

Some movies are so notoriously bad, or flopped so bad on release, they don’t simply endure despite that notoriety, they thrive because of it. Edward D Wood Jr was too bad to be forgotten as a film maker, his legacy as the worst film maker of all time means his movies are just as infamous now, half a century later, as when they were first released. I don’t often seek these shit bombs out. I’d much rather spend my time genuinely enjoying a movie than ironically enjoying it. But I recently joined my local library, where, it turns out, you can borrow movies for free. And the first one I saw on the shelf was Dune. A notorious 80s shit bomb that I can’t ever imagine seeking out. But it was there, it was free, and I couldn’t be assed looking for anything better.


Thanks to an opening monologue delivered by some mole straight to camera, we learn all about this futuristic space world. Where alien races are all hopped up on some drug called the Spice. It can make people live forever, and even bend space, for instant, intergalactic travel. Cut to a voice over who explains the various planets, the races who inhabit them and their relationship with each other. Cut to a castle, with more voiceover (possibly from the initial camera addressing mole) telling us about the origins of main character and hero, Paul Atreides (Kyle MacLachlan). This movie is 10 minutes and three scenes in, and it’s been nothing but clunky, convoluted exposition. (more…)

MOVIE REVIEW | Twin Peaks: Fire Walk With Me (1992)

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“When this kind of fire starts, it is very hard to put out. The tender boughs of innocence burn first, and the wind rises, and then all goodness is in jeopardy.”

A quarter of a century ago, a TV show had more pre-premier hype than anything I had ever seen at that point. I can still remember the ads as clear as day, with a little old fella saying, “She’s dead. Wrapped in plastic”. Everyone was obsessed with finding out who killed Laura Palmer before the first episode of Twin Peaks even went to air. I wasn’t obsessed, I was 10 years old. But the anticipation of this show was so huge, that even as a 10 year old, I knew about it. Then the show happened. Some people really loved it, most were confused by its weirdness. And after two seasons, Twin Peaks was no more.


Ever since, the years have been very kind to Twin Peaks, taking it from cult classic, to misunderstood classic, to out and out masterpiece. With the announcement that David Lynch was bringing the show back with a new season all these years later, it was finally the boot in the ass I needed to actually watch the original. I think my reaction in 2015 was pretty similar to how people felt at the time. Season one was amazing, while season two was hit and miss at best. But the hits were enough to make the misses worth sitting through. Having finished the show, I also knew there was no way I wasn’t going to see the follow up movie, Twin Peaks: Fire Walk With Me. (more…)

MOVIE REVIEW | ***CULT WEEK*** Mulholland Drive (2001)

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David Lynch is a true indie film maker. He makes his movies his way and never seems too concerned with whether or not they’re accessible or will find an audience. But every few years, one breaks through and goes beyond his own cult audience, hitting hard with mainstream success. Movies like Blue Velvet and Lost Highway will pop up, and remind regular movies goers that the dude who made Twin Peaks is still around. The last movie of his that I remember breaking through big, was Mulholland Drive.


After being the sole survivor of a major car accident, Rita (Laura Harring), dazed and confused, catatonically wanders the streets. Landing in Los Angeles fresh faced and wide eyed, Betty (Naomi Watts) has dreams of making it as an actress. When she moves into a Melrose Place style building, she finds Rita in her shower, naked, only a smidge above catatonic and suffering from amnesia regarding how she got there and where the bundle of cash she has came from. (more…)

MOVIE REVIEW | ***CULT WEEK*** Blue Velvet (1986)

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It’s hard for any movie to live up to a reputation built up over years, or decades, of praise and ever growing status. It’s even harder when that reputation was initially built on some sort of ground breaking, new approach to film making. It’s even harder still, when the ground breaking newness was all about weirdness. Because what was weird and ground breaking 30 years ago, is more than likely going to be copied and ripped off through the years following, to make that original seem a little tired and tame as well. I don’t know exactly what I expected from David Lynch’s revered Blue Velvet, but I do know I expected more than what I got.


Returning from college to his small home town after his father suffers a stroke, Jeffrey Baeumont (Kyle MacLachlan) is immediately dragged into a seedy underworld of crime, sex and violence, after randomly finding a severed human ear in a field. The ear leads him to local cop, Detective Williams (George Dickerson), which leads him to an immediate crush on the detective’s daughter, Laura Dern as Sandy Williams. (more…)

MOVIE REVIEW | ***DIRECTOR DEBUT WEEK*** Lynch: Eraserhead (1977)

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Excluding a few documentaries, David Lynch has made around a dozen feature films.  He managed to go beyond being a cult success and is a genuinely admired name as a director an innovator.  Which is why I feel kind of guilty that until today, I had seen a grand total of one of his movies. The Elephant Man.  Well now, I have doubled that number, by watching his feature film debut, Eraserhead.

Of you’ve never seen it, but have heard a little about Eraserhead, I’ll start by saying this, it’s even weirder than you think.  I have no idea what it’s about, what it’s trying to say or what I was supposed to take from it.  But for me, that was the charm of Eraserhead and what I like about it the most.

In the perfect kind of weirdness that seems so appropriate, the movie opens  with Jack Nance as Henry Spencer, kind of just floating in space.  Super imposed over a planet that represents his brain, I think.  Then some kind of fetus thing floats out of his mouth.  What does it all mean?  Who cares?  It looks amazing.

Henry goes to dinner at his girlfriend’s parent’s house where it turns out she gave birth to a weird alien, cow, baby thing.  Still with me?  Probably not.  I’m not still with me.  Her parents think he’s the father and should marry her, there’s a man who seems to be making the planet move and a girl with giant, mutant cheeks who sings a song.  You know, just regular movie stuff.

Made and pieced together over several years, that disjointed feel is obvious and I don’t think it can all be put down to deliberate Lynchian weirdness.  Not that Eraserhead is attempting any sort of conventional story with a beginning, middle and end, but the flow seems to have become even more jerky as a result of the years and years of filming.

I can’t think of anther film maker who has kept their art house sensibilities so much in tact while also finding such mainstream success.  Maybe John Waters is up there with him, but David Lynch makes the weird movies that even regular, casual movie goers seem to be kind of aware of.

If it doesn’t exist already, some band needs to make an album that syncs up with Earserhead, a-la Dark Side of the Moon and The Wizard of Oz.  Because even if the story frustrates and aggravates you, it is visually stunning enough to make the best 90 minute music video ever.

Apparently Lynch has made a point of rarely talking about this movie or going into detail about what it means.  His reason being, he wants people to come to their own conclusions about the movie and what it’s about.  I’d like to think the real reason is because even Lynch doesn’t have a clue what Earsehead is about.  For some reason, I think that would make it even more successful as a piece of experimental art.

Eraserhead
Directed By – David Lynch
Written By – David Lynch