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About NBooth

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  • Gender
  • Location
    Hanceville, Al
  • Interests
    Literature. Film. Music. The theater. Philosophy. Theology.

Previous Fields

  • Favorite movies
    Top Ten (descending order):The Third Man (Reed, 1949) Mulholland Drive (Lynch, 2001) 2046 (Wong, 2004) Vertigo (Hitchcock, 1958) Zodiac (Fincher, 2007) Citizen Kane (Welles, 1941) There Will Be Blood (Anderson, 2007) Raiders of the Lost Ark (Spielberg, 1981) Once Upon a Time in the West (Leone, 1968) The Thin Man (Van Dyke, 1934)
  • Favorite music
    Top Ten (descending order):Bob Dylan,David Bowie,Nick Cave,Brandi Carlile,Josh Ritter,Bill Mallonee,Robert Johnson,Willie Nelson,Van Morrison,The Beatles,
  • Favorite creative writing
    Top Ten (descending order): Tristram Shandy,    The Idiot,    Absalom Absalom!,    Winesburg, Ohio,    Leaves of Grass,    The Adventures of Sherlock Holmes,    Calamity Town,    Our Man in Havana,    Kings Row,    A Sentimental Journey

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  1. That scene got me.
  2. I'll admit to laughing at that scene, but it wasn't terribly in keeping with, well, anything around it. I broke down and watched all four episodes last night and re-watched the first two this morning. There's just nothing quite like this. Lynch is in full post-Mulholland Drive mode here--there's very little that directly replicates the original tv show (even when lines are directly replicated). It's bigger (more settings, less time spent in Twin Peaks itself) and distinctly more melancholy, particularly in scenes involving actors who died during the production of the show. The fetishized markings of small-town life that gave the original a reputation for being "quirky" are nearly all gone, just as the music is nearly entirely replaced with the trademark Lynchian industrial hum. And yet--weird and freaky as the show is--there's still that distinct Lynchian humanism, which sometimes gets forgotten in the midst of all the dancing little people and Frank Booth-style maniacs. Hawk, a beloved but secondary character in the original series, takes on a central role here (that's not a spoiler, right? Saying a character we knew was in it is important?). There's a lovely scene in the fourth episode involving two characters--one new, one returning--that made me grin at its simple good-naturedness. It's the central paradox of Lynch himself--not just the banal and the horrific existing side-by-side (as per DFW), but the beatific and the horrific co-existing in duality one with the other. I think of the last scenes of Blue Velvet--which I rewatched on Saturday--and the ways in which the conclusion can and has been read as ironic: the robin is fake, the shots recapitulate the opening montage, etc etc etc--but I'm not convinced Lynch is ironic, or at least in the way that would suggest that he doesn't believe in the robin. I mean, the choice of music over that last sequence in Blue Velvet certainly recontextualizes the fakeness of the opening view of Lumberton.... Back to Twin Peaks--Matt Zoller Seitz has argued that the emotions in the original series feel too raw, so raw that viewers want to take them ironically, but that Lynch manifestly doesn't. There's nothing quite so raw here, yet--nothing like Mrs. Palmer's meltdown in the pilot episode of the original series--but there is a fundamental decency about several characters--Hawk, Cole, etc etc etc--that stands out, I think, even more clearly against the nightmare turn the show has taken (and it is a nightmare turn--Lynch spends probably more time in the Black Lodge just in these four episodes than he spent in most of the original show's run). And that's fascinating to me.
  3. Wow. Wow wow wow. I won't have anything more substantive to say until I've watched the premier again. But wow.
  4. Huh. I actually thought this one was an improvement on Prometheus in that, at least, it's not boring. I enjoyed the planet exploration and Fassbender was loads of fun. The actual stuff with the alien, though, was boring in the extreme. I think the movie could have been improved simply by excising that.
  5. Ok, I finally watched this, getting ready to see the new movie tomorrow. It's...kind of a mess, right? I liked the first fifteen or twenty minutes a lot, and the last five or so are fine, but everything in between is such a slog. It's pretty, though. I'll give it that. And I suspect the Big Questions it asks, underneath all the nonsense, are more interesting than anything in, say, Interstellar.
  6. Entertainment Weekly has a photo.
  7. Ludi Lin (Power Rangers) joins the cast.
  8. Because I have a brother who has children, I wound up seeing this again over the weekend. And I kept your comments here in mind. I think you're right, though I don't think it's a good thing you're right--by which I mean, something more creative could have been an element of character-growth, which this movie carefully avoids--at least, as far as Quill is concerned. Other points: 1. This movie has the best villain I've seen in a Marvel film--he's connected to the emotional journey of the protagonists, he's genuinely fascinating in his own right (and even a little emotionally complex!). Indiewire has a piece on this that I discovered after coming to this conclusion, and it makes the case far more expansively than I was inclined to. 2. Related--I've seen criticisms of the songtrack, saying that what we have here is a stale repetition of [part of] what made the first movie so unexpected: the use of old radio hits. And that's arguable, but there's one song I wouldn't count in that criticism: "Brandy (You're a Fine Girl)". Part of this is quasi-autobiographical, but growing up pretty much all we listened to was the Golden Oldies channel (my mother, like Quill's, knew the words to every song on the station), and "Brandy" was impressed on my mind early on. But always as a radio hit, you know--no real reflection on it, outside of the occasional titter about how over-the-top it can seem. But what this movie does is expose the essential darkness of that radio hit, in a way I can remember few other movie needle-drops doing. By tying it to these characters and this story, the movie suggests something about how essentially scummy much of our pop culture really is. (I also think that the song is actually better in the context of the movie than it is otherwise, but that's another story). The movie doesn't really do anything with that, but it's fascinating to me. 3. The end-battle is more unending and disappointing than on first viewing.
  9. For completeness, here's a link to our thread on Riverdale, since Lee Toland Krieger directed the first three episodes and the finale.
  10. Mild Spoilers And that's it for season 1. The Jason Blossom plot is resolved and a new mystery is set up (in a way that will be familiar to viewers of Twin Peaks, actually). Betty got to give a Big Speech about how Riverdale Is Everyone In It, which works well enough on a couple of levels. A couple of things didn't happen that were expected--no incursion of the supernatural (so, no Sabrina, no hints of an Afterlife with Archie twist), no Archie-Betty angst (although it looks like Betty and Jughead are in for a time of it). So yeah. I think this has been a legitimately good season of television. Not brilliant, mind, but if you like certain sorts of things (small-town fiction, teen melodrama, melodrama in general), it's a tasty confection of a show. And I know I've used "tasty" more than once, but that's pretty much the best way I can describe it. There's no real Big Ideas here--the show's a bit like Archie himself, in that way: pretty and sweet, but a bit dumb. I enjoyed the heck out of it and will definitely be keeping an eye out for season 2. EDIT: I just discovered that the first three episodes of this season, as well as the finale, were directed by Lee Toland Krieger, who directed The Age of Adaline (link to our thread).
  11. Here's our best look at the new season yet. Ten days!
  12. "a vulgar movie for vulgar times."
  13. I really want to push for I Don't Want to Sleep Alone. It's a good movie, for one thing, and it does interesting things with the sleeping/waking theme (see the screencaps I posted). And it hasn't gotten a second, which either means no one else thinks it's worthwhile or that not enough people have seen it. I'll assume the latter and recommend watching.