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Mr. Arkadin

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Posts posted by Mr. Arkadin

  1. Season four does not offer anything as immediately impressive as season three's underwater episode, and it shows some of the strain most shows hit at this point in this run (at least major character gets an arc that feels undercooked). But it's still hilarious, and, when everything comes together, it cuts right to the bone.

  2. 5 hours ago, M. Leary said:

    Right. Except there is always a universe out there with a Wally Brando in it. (And everyone else in the last interior shot of the Twin Peaks police station.)

    Yes. And Dougie is there, too. There is a very conscious doubling of finales here. Chapter 18 is a postscript, what Cooper calls the "curtain call."


    4 hours ago, M. Leary said:

    This pairing was so exquisitely framed as the kind of physical pairing which occurs for reasons other than mere physical pleasure, after time and desire have bloomed into something a bit like desperation but more a way to tell someone you both belong to the same story at the same time.

    Both Cooper and Diane lose themselves there, and it's where the horror first begins to creep in. There is a suggestion that Diane is reliving the trauma she experienced at the hands of Mr. C, and she covers Cooper's face as though she's desperate to hide it.


    4 hours ago, M. Leary said:

    But also... I have enjoyed taking this journey through The Return with you all. This has been a very helpful place of reflection and I learned a lot.

    Yea, verily.

  3. The finale of Twin Peaks revealed that the entire arc of the series is toward horror.

    Cooper proceeds beyond the boundary of his world to the territory of JUDY's world. Ever the FBI agent, he wishes to follow the trail back to its origin. It's a "be careful what you wish for" moment; in proceeding to JUDY's universe, he loses himself, he loses his sense of place, of time. He knows he must bring Laura/Carrie to the Palmer house--that central spoke in the wheel of evil, which has become inhabited by JUDY over the course of season three. And in bringing Laura there, he apparently *does* conjure Judy, but only renews Laura's sense of tragedy: Laura's scream cuts across time and space and imagination.

    So, in the end, Cooper and Laura share a dark secret--the face of darkness--which is why the final image of the series is of Laura whispering the unspeakable secret to Dale Cooper in the lodge. This is the ultimate mystery Twin Peaks: unspeakable horror, a bottomless void.

    Chilling, frustrating, and despairing. It makes the season two finale palatable in comparison.

  4. I kinda liked DeHaan in this part precisely *because* he's a really weird choice for it.

    What would be a tediously typical "dumb-but-charming" part with a more conventional Hollywood leading man (ala Chris Pratt) becomes something kinda interesting to watch due to DeHaan's own peculiar energy.

    I may write a full review of Valerian, so that's all I'll say about that for now.

  5. The NYT reports Craig is set to return, and Variety reports that Yann Demange is the leading contender for director (the others on the shortlist, per Deadline, are Denis Villeneuve and David Mackenzie).

    If this is EON's last Bond feature, it will truly be the end of an era. I bet we'll see Christopher Nolan tackle the reboot (he's kinda hinted in that direction a few different times, and WB is rumored to be MGM's partner on this new film).

  6. I have not yet seen Dunkirk, so I can't comment. I am considering working through those questions in a longer piece after I've seen it.

    Interstellar remains the only Nolan film I actually feel personal attachment to, rather than just detached fascination, so we're on a similar page there.

  7. I'm less interested in Dunkirk as a film in and of itself than I am interested in it as another opportunity to try to puzzle my way through Nolan's unique stew of influences and obsessions. As with seemingly every Nolan film, there doesn't seem to be any underlying logic as to who responds favorably to Dunkirk and who doesn't.

    Nolan's very peculiar priorities as a filmmaker--and the ways in which those peculiar priorities play out differently from project to project--continue to fascinate me.

  8. I haven't read this book in ages, but very little in that trailer squares with my vague memories of the book. Maybe I should re-read it.

    At any rate, this looks like a film that isn't afraid to get wild, though, so I'll give credit to DuVernay.

  9. Vishnevetsky:


    "Orson Welles called a movie studio the biggest electric train set any boy ever had, but in the tentpole-franchise-superhero-coming-soon era, the trains are expected to run on time. It’s rare, then, to see a film this extravagant that also feels, for better or worse, like the work of a single personality. The longer action scenes may not always rank with Besson’s early ’90s highlights (Léon: The Professional, La Femme Nikita) or the mania of the more recent Lucy, but there isn’t a moment in this ludicrous, lushly self-indulgent movie that doesn’t feel like its creator is having the time of his life."

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