Mysteries In May: Twin Peaks – Fire Walk With Me (1992)

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I never watched Twin Peaks when it originally aired. As I noted in my Five Cool Things column, I do remember seeing some magazine spread that talked about the show, detailed what we knew (at that time) about the central mystery, and gave some details on the various characters inside the fictional town of Twin Peaks, Washington.

The series was massively popular at the time, and the question of Who Killed Laura Palmer? was a cultural phenomenon. But then the popularity waned, and it was cancelled after two seasons.

My assumption was that they did not solve the mystery in those two seasons, which is why they made a movie, Twin Peaks: Fire Walk With Me.

Many years after the original airing, my wife and I borrowed the series on VHS tape from the local library. They only lent it out one tape at a time. I think we watched the first two tapes, but it could have been three or even four. We definitely did not finish the first season. But then the next tape was not available, and we got distracted and never returned. I thought about it often, but Twin Peaks is the sort of series you really want to watch straight through, and eventually, enough time had passed that we knew we needed to start it all over again.

Weirdly, my wife at some point watched Fire Walk With Me. Again, my assumption was that the movie solved the murder mystery, and since I hadn’t finished the series, I did not partake.

Recently, we finished the original series, and I finally caught up with the movie.

For those of you who know nothing about Twin Peaks, I think I can say, without really spoiling anything, that they do solve the murder of Laura Palmer somewhere in the middle of Season Two.

For those of you who know even less about the series, Twin Peaks is a television series created by David Lynch and Mark Frost, which ran on ABC for two seasons in 1990-1991.

The fictional town of Twin Peaks is an idyllic small American town with picturesque views of the Rocky Mountains. As the series begins, Laura Palmer, the beautiful Homecoming Queen and apparent darling of the town, is found brutally murdered, lying naked in the river.

FBI Agent Dale Cooper (Kyle MacLachlan) is sent to investigate. While the town is seemingly as American as Apple Pie and as idyllic as those snow-covered mountains, Agent Cooper will soon discover a dark underbelly to Twin Peaks. And Laura Palmer likewise is found to harbor dark secrets, including drug use and promiscuity.

The series is relatively light-hearted, treating most of the characters as quirky and mysterious rather than lecherous monsters. It is very much an entertaining small-town murder mystery, albeit one with periodic turns into surreal horror.

The series doesn’t judge Laura Palmer’s darker side; it doesn’t blame her murder on her various indiscretions. But it doesn’t absolve her of them either. It seems very much a part of Lynch’s obsession with revealing the darkness behind bucolic settings (see Blue Velvet for more).

And now, we finally arrive at Fire Walk With Me. If Twin Peaks: The Original Series was all about answering the question “Who Killed Laura Palmer?”, then Twin Peaks: Fire Walk With Me attempted to answer “Who Was Laura Palmer?” Which makes it not really a mystery, but as it does answer some of the lingering questions of the series (though not nearly all of them) I’m allowing into my Mysteries in May series.

Since she is dead before the original series begins, we only know her through the memories of others and the clues Agent Cooper finds. Her friends and family members remember her fondly, with rose colored glasses. She was the homecoming queen, a good girl, a saint. But then her drug use and promiscuity are revealed. She’s shown to have worked at a cat house and sold cocaine. The assumption is that she was just a stereotypical “bad” girl, rebelling against her white picket fence home life.

Fire Walk With Me plunges us into who she really was.

But first, there is some business about another murder. The film begins with two FBI agents (portrayed by Keifer Sutherland and Chris Isaak) investigating a murder very similar to that of Laura Palmer, which occurred sometime before Laura’s death. But just as we’re starting to get invested in that case, one of the agents disappears.

Back at FBI headquarters, several agents (including Agent Cooper) are discussing the matter when Agent Jeffries (David Bowie), who had been missing for many years, suddenly enters and tells them a wild tale involving spirits and a Red Lodge (something that would feature prominently in the original series). And then he disappears.

We then move on to the last days of Laura Palmer, and that initial mystery is just left hanging. Apparently, David Lynch shot a lot more footage dealing with that first mystery, plus hours of footage around Laura Palmer, but cut it for the final movie. He has since gone back and compiled many of the cut pieces into something of its own, semi-coherent movie entitled Twin Peaks: The Missing Pieces. I have yet to watch that, but it is on my Criterion Collection Blu-ray.

In the original series, Laura Palmer was a mystery to be solved. We learn about her, but she’s never anything more than a murdered corpse. Fire Walk With Me lets us know her as a living, breathing person.

In the series, she was a “bad girl” who pretended to be good. But in the film, she’s a tragic figure. We learn that she endured years of abuse and trauma. The drugs, the sex weren’t a good girl acting out, but a young woman who has systematically been abused trying to cope.

Obviously, we know Laura Palmer is going to be murdered, but the character seems to know she’s living out her final day as well. It is a staggering, heartbreaking performance by Sheryl Lee.

It is a difficult movie. Lynch infuses it with his surrealistic, nightmarish horror. Add to that the very real trauma Laura is experiencing, and it is a tough watch at times. But also beautiful, powerful, and brilliant.

I highly recommend it, but only after you’ve seen the original series and are braced for this to be something completely different.

Mysteries in May: So Evil My Love (1948)

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I watched this movie five days ago, and I have to admit I had to read the entire Wikipedia synopsis to remember what had happened. My mind was completely blank on the plot details. You would think that would mean I didn’t like it, but the opposite is true – I liked it a lot. I guess I’ve just slept since then.

So Evil My Love is a twisty film noir set in Liverpool during the Victorian era (Wikipedia says this subgenre of Victorian noirs is called Gaslight Noirs, and I just love that). Ray Milland stars as Mark Bellis, and Ann Todd plays Olivia Harwood. They meet on a boat returning from the West Indies. He is a rapscallion and a thief; she’s the widow of a missionary.

He’s sick on the boat with malaria, and she nurses him back to health. When they land in Liverpool, he charms her into letting him stay at her boarding house. A romance ensues.

He learns she’s got a rich friend and talks her into asking the rich lady for money. Then she becomes the rich lady’s paid companion. Meanwhile, Bellis is attempting burglary and stepping out with another woman. He pushes Olivia into blackmailing her friend.

It is less of a mystery and more of a naive woman being beguiled by a lecherous older man. The stuff between Bellis and Olivia is golden. The first act is a real treat. But when the plot turns to her rich friend and all those shenanigans, it becomes a bit of a bore. Thankfully, it turns a corner towards the end and creates a completely satisfying closing.

Well worth checking out.

In the Heat of the Night is the New Blu-ray Pick of the Week

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There aren’t any major new releases this week. Mostly it is 4K UHD upgrades of things that have been previously released on Blu-ray. Criterion has two releases including my pick the classic In the Heat of the Night and the french musical Umbrellas of Cherbourg.

There’s also a boxed set of Star Trek movies, a cool looking double-pack of silent films and a few other things, all of which you can read about over at Cinema Sentries.

Mysteries in May: The Uninvited (1944)

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The Uninvited was not the first ghost story to ever make it on film, but it was one of the first movies to take them seriously. Prior to this, ghosts were used for comic relief, or there were natural or psychological reasons for them to “exist.” They were explained away in some fashion. In The Uninvited, they are quite real and quite terrifying.

Roderick Fitzgerald (Ray Milland) and his sister Pamela (Ruth Hussey) are holidaying on the coast of Cornwall. They fall in love with an abandoned seaside manor. When they inquire into whether or not it is for sale, they are at first told by Stella Meredith (Gail Russell) that it is off the market, but her grandfather, Commander Beech (Donald Crisp), immediately agrees to sell it for a low price.

Later, they’ll learn that Stella is quite attached to the house as it was her mother’s house, and where she died under mysterious circumstances when Stella was quite young. Roderick and Stella form an instant bond and the beginnings of a romance, but Commander Beech forbids it and for Stella to even set foot inside the house.

There are rumors around the village that the house is haunted, and sure enough, our heroes begin experiencing strange occurrences. Their pets refuse to go up the stairs. They periodically smell mimosa wafting from somewhere, though there isn’t any on the premises. And in the wee hours of the morning, they sometimes hear a woman sobbing.

At first, Roderick is skeptical, but Pamela wants to believe, and Stella is a firm believer and is fascinated. She believes her mother haunts the place. At times, she seems possessed by her.

One lonely evening, she runs out of the house in a trance and nearly falls off a cliff next to where her mother did that very thing. They hold a fake seance (to try and convince Stella to stay away from the house) and see a real ghost.

The film isn’t really scary. Not by the gore-filled, jump scare standards of today. But it is full of a wonderfully creepy atmosphere. It isn’t quite gothic, but it was certainly influenced by the genre with the big, creepy house and the various mysterious characters.

The main cast is all terrific, and while the story didn’t quite enthrall me, it did keep me fully interested and entertained. It is a perfect Saturday night movie to watch in the wee hours of the night during a thunderstorm.

Mysteries in May: Tony Rome (1967)

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Tony Rome attempts to blend the cold calculations of classic film noir with the cool, hip 1960s thriller, but is unsuccessful at both. It isn’t a bad film, but it lacks a certain something. It doesn’t pop like it needs to.

The script (based on a novel by Marvin Albert and written by Richard L. Breen) is wonderfully twisty and convoluted, but it fails at creating the sort of witty, cynical dialogue Raymond Chandler was so good at writing and Humphrey Bogart was great at saying. Frank Sinatra was a great singer and a decent actor, and he was the epitome of cool, but he struggles to make Tony Rome interesting, and surprisingly fails at making him hip. He was in his fifties at the time, and this was the late sixties, so I suppose his hep factor had waned.

The film struggles with it as well. The opening titles find Tony Rome sailing about Miami Beach in his houseboat while Nancy Sinatra sings the title song. Sinatra looks goofy wearing a sailor’s hat. He docks, gets out, and notices a pretty woman wearing a bikini. The camera crash zooms in on her derriere, then immediately cuts to the bottom of a young male boxer.

It is an interesting cut, a fun nod to the casual sexism of these types of films. The camera all too quickly moves away from the boxer, which is either an even more interesting recognition of sexism (zooming in on a woman’s bottom is sexy, but staring at a man’s arse is gross and must be moved away from post haste) or I’m reading way too much into this very brief moment.

Tony Rome is a former cop turned struggling private investigator. He’s hired by his former partner, whom he hates, and is now working as a hotel detective, to take a drunken, passed-out woman currently sleeping it off in one of the hotel’s rooms, home.

The woman is Diana Pines (Sue Lyon), the daughter of a rich, powerful construction magnate, and it wouldn’t do the hotel any good to have her discovered in her condition on its premises.

Rome agrees, but when he arrives, he’s tasked by the father to find out where she has been and why she’s been acting so strangely lately. Before he can even walk out of the house, he’s hired by Diana’s step-mom to leave out some of the gory details when he reports to the dad.

When he gets to the houseboat, he finds two thugs tearing up the place. They are looking for a pin. When Tony informs them he doesn’t know what they are talking about, they courteously ask him whether he’d like to be knocked out with a gun whacked to the back of the head or via some chloroform.

When he awakens, he finds Diana looking over him. She also asks him about a pin, thinking he stole it before he took her home. The pin is a diamond-studded piece of jewelry, and it’s gone missing. Diana hires Rome to find it for her.

All of that happens in the first ten minutes. A whole lot more occurs over the next 90 minutes or so before the film concludes. I’d explain it to you, but I had a hard time following it all. He gets help from and romances Ann Archer (Jill St. John), and is antagonized by Lt. Santini (Richard Conte), while a surprisingly large number of bodies pile up. I enjoyed the mystery even though I’m not sure it made all that much sense.

It is an enjoyable enough film that I’m willing to check out its sequel, Lady in Cement. even while wishing it had been a little smarter, hipper, and tightly constructed.

The Friday Night Horror Movie: Crooked House (2008)

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We have now moved from our beloved Awesome ’80s in April to Mysteries in May. When I started this theme last year, I entitled it Murder Mysteries in May. I think I liked the aliteration more than anything, but I also seem to have known I would probably move from Murder Mysteries to just Mysteries, as when I created the category for it, I did not include “Murder.”

The thing, of course, is that you can have a mystery without there being a murder. I imagine that the majority of mysteries involve solving some sort of crime, often a murder, and Lord knows I love a good Murder Mystery, but I think I like broadening it up to other types of mysteries as well. So here we are. I’ll likely write more about that tomorrow in my normal opening salvo for the month’s theme, so I’ll move on.

It is easy to find a mystery that is also a horror film. Lots of murder mysteries have horror elements mixed in, and a good haunted house story is also mysterious. Tonight I wanted to watch something with my wife, and as she doesn’t like the hard horror stuff, I went looking for a nice mystery with just a touch of horror. It took forever, and when I finally found something, our internet went bad, so I had to find something else.

I landed on a movie called Crooked House from 2017. It is based on an Agatha Christie story, it was scripted by Julian Fellowes, and stars Glenn Close, Terrence Stamp, Julian Sands, Gillian Anderson, and Christina Hendricks. The trailer looked fun, and my Fire Stick indicated it was available on Prime.

I pressed play, and an opening scene had Marc Gatiss in it. That was a nice surprise, and I was pleased to have yet another actor I enjoy in this thing. Then the opening credits rolled, and none of the other names were familiar to me. None of those stars I just rattled off appeared either.

This was the wrong film. I backed out and looked at it again. The title card indicated the movie I wanted, and the trailer too. But pressing “play” again yielded the same results. I then searched for “Crooked House” on my Fire Stick, and now Amazon indicated that the film I wanted was not available to me.

Figuring the Mark Gatiss film was just an older adaptation of the same story, I decided to go ahead and watch.

It is not the same story. It isn’t even a movie. This Crooked House was a television series created by Mark Gatiss, who also wrote it. It ran for three episodes in 2008. Presumably, someone put the episodes together and made them into a movie. It works like an anthology series, which fits the premise well.

Gatiss conceived it as a homage to both the stories of M.R. James and the films of Amicus Productions. I’ve not read anything by James, but I am quite familiar with Amicus, which made a bunch of low-budget horror films in the 1970s that feel like low-rent Hammer Horror knock-offs.

A high school history teacher, Ben Morris (Lee Ingleby), brings an ancient door knocker he’s recently discovered to the local museum, where he presents it to the curator (Mark Gatiss). He says it must be from the old Geap Manor and proceeds to tell him two ghost stories about the place.

The first story finds an old miser restoring the Manor after he got rich on an investment that ruined the other speculators. Soon enough, he’s hearing loud knocks coming from the walls, which seem to turn to blood in the wee hours of the night.

The second story takes place in the Roaring Twenties, with a wild party going on in the manor. The new owner announces his engagement to the daughter of a tradesman, much to the chagrin of his ex-girlfriend and grandmother. The ex is jealous, but the grandmother tells a story of a terrible suicide that happened to her sister on her wedding day. And the curse the woman put upon all new brides in that house.

Our final story involves Ben Morris as he takes the knocker home and puts it on his own door, only to begin hearing creepy knocking at 3 every morning and finding his house transformed into the old manor.

None of the stories is particularly good, but they do have a certain creepy charm to them, and there are a couple of good scares to be found. The fact that it was initially a television series somehow makes it better. I can totally see myself enjoying it that way. And I do dig that Amicus vibe.

The Totally Awesome ’80s in April: All the Movies

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8 Million Ways to Die (1986)
2010: The Year We Make Contact (1983)
The Bedroom Window (1987)
The Big Red One (1980)
Black Moon Rising (1986)
Breathless (1983)
Call Me (1985)
Castle In the Sky (1986)
Child’s Play (1988)
Dead Calm (1989)
Death Spa (1988)
Desperately Seeking Susan (1985)
Dolls (1987)
Dune (1984)
Entity (1982)
The Final Countdown (1980)
Firestarter (1984)
Flash Gordon (1980)
Flashdance (1983)
The French Lieutenant’s Woman (1981)
Highlander (1986)
Initiation (1984)
Innerspace (1987)
The Killer (1989)
Mad Max (1981)
Mad Max Beyond Thunderdome (1985)
Maximum Overdrive (1986)
Monkeyshines (1988)

Night Game (1989)
Night of the Comet (1984)
Night of the Demons (1988)
Nighthawks (1981)
Presidio (1988)
Purple Rain (1984)
Rambo Trilogy (1982-1988)
A Return to Salem’s Lot (1987)
Robocop (1987)
Silver Bullet (1985)
Slave Girls From Beyond Infinity (1987)
Starman (1984)
Three Amigos (1986)
X-Ray (1981)
Yes, Madam! (1985)

The Movie Journal: April 2024

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I watched 34 films in April. Twenty-six of them were new to me. Five of them were made before I was born. The theme for the month was Awesome ’80s in April, and I watched 12 movies from that decade.

It was a bit of an odd month. I had a lot of review stuff to watch, and I continued watching more TV than I have in the past. I should really start writing about that more. I’ve also not been following my rule of watching at least 75% new movies. Out of the 122 movies I’ve watched this year, only 88 (or 72%) have been new to me.

I did a great job of reviewing the movies I watched this month, though I did better in the beginning than the end.

My actors and directors lists are finally starting to look like something.

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I’ve got a big five-way tie for top actor with three films each. ’80s in April helped Meg Ryan and Dennis Quaid jump in, and the death of Val Kilmer prompted me to watch some of his films.

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The wife and I always love Studio Ghibli films, and that is becoming a weekend staple, which puts Miyazaki in a tie for first place alongside John H. Auer, who directed all the films in the latest noir set from Kino Lorber.

For May, we are once again doing Mysteries in May so that should be fun.

D.O.A. (1988) ***
Magnificent Wanderers (1977) ***
Anna Karenina (1935) ***1/2
What a Way to Go! (1964) **1/2
Sinners (2025) ****1/2
Invitation to a Murder (2023) **
Tombstone (1993) ****
Career Opportunities (1991)
Night of the Demons (1988) ***1/2
The Magnificent Trio (1966) ***1/2
Rogue One: A Star Wars Story (2016) ****
Thunderheart (1992) ***1/2
Kill Me Again (1989) ****
Something Wicked This Way Comes (1983) ***
Burn After Reading (2008) ****
The Spanish Apartment (2002) *1/2
The Initiation (1984)
Black Moon Rising (1986) *
Castle in the Sky (1986) ****1/2
City That Never Sleeps (1953) ****
¡Three Amigos! (1986) ***
Dolls (1986) ***
The Flame (1947) **
Hell’s Half Acre (1954) ****
Danger Point: The Road to Hell (1991) ***1/2
The Hitman Blood Smells Like Roses (1991) ****
Carlos (1991) ****
Innerspace (1987) ****
Flashdance (1983) ***
Stranger (1991) ***1/2
Highlander (1986) ***1/2
Scorpion Woman Prisoner: Death Threat (1991) **
Companion (2025) ***1/2
Burning Dog (1991) ***1/2

Three Clint Eastwood Steelbook 4K UHDs are the Pick(s) of the Week

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Typically, I choose but one film or boxed set as my pick of the week. But every now and again, I simply can’t choose just one film, and I have to go with multiple picks. This week, three Clint Eastwood classics are getting UHD upgrades with nice-looking Steelbook cases, and I want them all.

Clint Eastwood is one of the great actors and directors out there. He’s been consistently making good films for sixty years, and he doesn’t seem to be willing to stop.

The three films – Dirty Harry (1971), Pale Rider (1985), and The Outlaw Josey Wales (1976) aren’t necessarily the very best of Clint Eastwood but they are all good films in their way (if I’m being honest I’ve not seen either of them in a long while so I don’t have anything intelligent to say about them at the moment) and they will make a nice addition to anyones collection.

Also out this week that looks interesting:

Anora 4K UHD: This Oscar-winning film from last year is about a sex worker who marries an Oligarch and then faces the consequences when her husband’s family finds out.

Paddington in Peru: I’ve not seen any of the Paddington films but everyone says they are delightful.

Star Trek: Section 31: Michelle Yeoh stars in this Star Trek film about a secret division of Starfleet tasked to protect the United Federation of planets, but she must also learn to deal with some dark secrets. The reviews have been savage.

V-Cinema Essentials: Bullets & Betrayal: Arrow Video presents this collection of straight-to-video films from Japan. You can read my review here.

Murderrock 4K UHD: Vinegar Syndrome presents this ridiculously silly, gory, and surprisingly beautiful Giallo of Lucio Fulci in UHD. You can read my review of the movie here.

Awesome ’80s in April: Black Moon Rising (1986)

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This theme always makes me think about what makes an ’80s movie so 1980s? There are lots of ways you could answer that from certain visual styles, to the excessive use of those lightning bolt effects. There are themes and motifs films from the 1980s reflected on regularly, and genres that elevated the box office (think slashers and action flicks).

You could turn on your TV right now and find a movie already in progress that you’ve never seen before and determine pretty quickly that it was made in the 1980s.

Certainly, if the film you put on was Black Moon Rising and you saw this car roll across the screen, you’d know you were watching an ’80s movie.

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And if there were any doubts after that, once you caught wind of Linda Hamilton’s hair, you would know with absolute certainty.

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The film itself is a great big pile of 1980s cheese. Tommy Lee Jones plays Sam Quint a thief turned FBI subcontractor hired to steal a computer disk containing damning information about some big Las Vegas corporation. He easily steals the disk, but when he’s chased down by some goons, he slips it behind the tag of that totally awesome car pictured above.

That car is a prototype made by some super-smart nerds, and it can travel up to 350 MPH and runs on water. Before Sam can get his disk back, a thief named Nina (Linda Hamilton) steals the car.

Actually, she steals a lot of cars. She’s part of a car-stealing ring that is so bold they show up at a fancy restaurant, lock all the doors then drive away with a couple of dozen cars at a time. The ring is run by Ed Ryland (Robert Vaughn), who is so bold that he’s building two massive high-rises to run his car-stealing operation out of.

Naturally, Sam has to break into the well-secured high rises and steal the car back. Naturally, he romances Nina in the process.

It is all very silly and rather dumb, but Tommy Lee Jones makes it worth the watching. He could elevate even the stupidest material. I’d watch him in anything. The car is pretty fun too.