The first time I learned that Lynch was going to reboot "Twin Peaks" made me happy like a child for a while, and it started like a dream.
It's like closing your eyes and picking up an old dream.
Finally finished it.
The scream at the end made me want to raise my actual opinion 5 by at least 2. David Lynch is an old rogue after all, a fossil-level master who is too familiar with the logic and genre expectations of movies.
In the first half of the year, the theater re-watched "Blue Velvet", "The Night of the Monster", and "Mulholland Drive". After watching "Mu", I suddenly sighed: From "Blue Velvet" onwards, Lynch has completely possessed " Movie”, the seductive lady, from then on, “strangeness”—the incomparably precious element of creating movies and all art disappeared suddenly from him, and he has since embarked on a seemingly jerky pioneering, but actually open and playful. Movie Entertainment Road. Looking back, after watching "Mulholland Drive" for the first time ten years ago, I had a faint sense of Lynch's ingenuity. Still at the childhood stage of thinking that the core of art is "art" itself, and it is not as objective and macroscopic as when it is rewatched on the big screen many years later. I've always been more interested in unfamiliar "setback" works/authors, so in Lynch's film list, "Blue Velvet", "The Elephant Man" and "Eraser Head" should be ranked at the top of the list. Of course, the first two seasons of "Twin Peaks" also ranked very high. All art is the same, the more you see, the more you do, and the more you understand, the value and taste of the words "simple and unpretentious" can be slowly revealed in front of you.
Apart from my emotional factor for Lynch himself, the whole show personally feels close to tasteless. All tricks and interests are not substantively new; Lynch-style stories are also told distractingly and artificially, and the small paragraphs of experimental video have completely become an eye-catching filler, empty and isolated; The special effects have always been an aspect that I particularly disliked about him. The blunt hard cuts, fusions, motion cuts, and physical tremors only let me see Mr. Lin's innocence and cuteness; it's the same as when I watched the first episode of this season. , the digital production has ripped the Lynch-style image into silly pieces, and there is no mystery at all. Compared with the previous two seasons, the overall sensory experience has dropped sharply. He did it himself, with his old tricks, complicated stacking, what a pity the auditory memory created by Badramenti.
However, one thing I like very much is his creation and characterization of "characters". "Amazing!" That's the whole point of view. I have read a special article before introducing the characters of this play, you can find it, it even talked about the nine-inch nails band Trent Reynolds (although they are NIN diamond powder, but I don't like that song). A familiar saying: third-rate screenwriters write stories, second-rate characters, and first-rate tastes. Of course, everything can't be easily matched. Having said that, Lynch and the Coen brothers and Quentin are really masters of character writing in the contemporary film industry. "Taste master" need to say? The truth of everything is not a simple straight line.
Goodbye, Twin Peaks, a dark dream she told him belonged to each other.
6 points/10
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