Tag Archives: Tim Roth

CAPSULE: TWIN PEAKS: THE RETURN (2017)

DIRECTED BY:

FEATURING: , , , Miguel Ferrer, Chrysta Bell, James Belushi, Robert Knepper, , , , , , Al Strobel, Carel Struycken, , David Lynch

PLOT: Picking up twenty-five years after the events of “Twin Peaks” and Fire Walk with Me, life has continued for most of the small town’s residents; but things are afoot which once again will involve the FBI and Agent Cooper and a mystery involving “the strange forces of existence.”

WHY IT WON’T MAKE THE LIST: As noted in the earlier capsule on Twin Peaks, “it’s a TV series“. However, I’d like to put forth the case that the entire Twin Peaks universe—the original 90’s series, the feature Fire Walk With Me, and “The Return”—should be treated as one whole project instead of as separate entities and as such, should be considered as a contender for the List.

COMMENTS: In uncertain times, audiences and institutions like to choose the familiar, which may account for the numerous remakes and “reboots” of successful material from the past (witness the return of “X-Files” and “Will & Grace,” to name just a couple). Most of these are obvious cash grabs, empty and unrepentant. When it was announced in late 2014 that David Lynch and Mark Frost would be bringing “Twin Peaks” back to television, however, speculation was wild and expectation high on what that result would be, especially as it went from a proposed nine episodes to an eighteen-hour “feature film” and Showtime gave Lynch and Frost complete creative control.

It’s evident now that “Twin Peaks: The Return” (Showtime’s marketing title; Lynch and Frost have made it clear that they consider this “Season 3”) was in every way the Major Event that fans and critics had hoped it would be—but it was in no way what anyone expected. As the head of Showtime, David Nevins, told the press in early 2017, it was the “pure heroin version of David Lynch.” We had no idea.

Unfettered by the constraints of network television, instead of bringing fuzzy warm nostalgic memories of the original 90’s show to the forefront, Lynch and Frost opted for a true continuation, and also made it very contemporary to the current times (there is a small amount of nostalgia indulged in as things converge at the end, but it’s very brief). Going even further than he did with Fire Walk With Me, “The Return” is a culmination of tropes Lynch has employed throughout his career, but with an emphasis on his aesthetic post-Lost Highway/Mulholland Drive. Those who were expecting a straight return to the world of “damn good coffee” and doughnuts were thrown immediately, and it drove almost everyone watching from May to September crazy in attempts to “figure out” where the show was heading.

It’s twenty-five years later and characters have aged, and changed. Continue reading CAPSULE: TWIN PEAKS: THE RETURN (2017)

CAPSULE: THE WAR ZONE (1999)

DIRECTED BY:

FEATURING: Freddie Cunliffe, Lara Belmont, ,

PLOT: After moving to North Devon from London, Tom finds there’s little to do but wander the rainy countryside to avoid his family’s stifling cottage, until he discovers something dreadful is going on between his father and his sister.

WHY IT WON’T MAKE THE LIST: Inarguably well made, it is also inarguably hard to watch. The War Zone plays a subtle game at the beginning, but the unrelenting melancholy mixed with something much, much worse isn’t weird so much as harrowing.

COMMENTS: For those who may have been wondering what a Lifetime movie directed by might be like, look no further than The War Zone. Tim Roth’s directorial debut (and, as of this review, only directorial effort) is unceasingly dreary and rainy right up to the point when it gets truly disturbing. An overcast aura permeates the movie—inside, outside, and tonally—soaking the characters and narrative with an altogether melancholy atmosphere that, like the rains of North Devon, never lets up.

Matching Devon’s somber disposition, young Tom (Freddie Cunliffe) mopes through the movie. A sullen teenager, he barely interacts with his seemingly pleasant family. When his mother (Tilda Swinton) goes into labor shortly after their move, the whole family takes a frantic trip to the not-so-nearby hospital. A car crash immediately followed by the miracle of birth seems to bring them closer together. However, Tom discovers that his older sister (Lara Belmont) and his father (Ray Winstone) may be continuing something inappropriate that began in London. Their cottage’s isolation and unpopulated countryside provide the two with opportunities to continue the tryst. Upon Tom’s suspicions being confirmed, things get even more awkward, and spiral into a nasty climax.

Bleak, bleak, and then some. Tom’s only escape from his life is bicycling around outdoors and spending time on the beach, invariably in the rain. He loves his sister, but hates her for what she’s doing. His sister hates herself. The father, given no name (like the mother), is an oddity. Until we know what’s going on, he seems an altogether swell guy—and even after the truth is revealed, Ray Winstone does us no favors by contriving a sympathetic performance. Shot by shot and muddled conversation by muddled conversation, Tim Roth puts misery on parade, never stopping for a break. This movie is dark stuff; straightforward, depressing dark stuff.

Having been among the few to catch this in theaters when it was released eighteen years ago, I remember it as being bleak; re-watching it the sensation was compounded by the DVD’s awkward display. Released as widescreen in the days of square televisions, my newer TV put a box around the film: its claustrophobia magnified by the black bars on all sides. And there’s some unhappy history involving its production and release. Ray Winstone nearly left shooting after having to perform a particularly wrenching scene. During the Toronto Film Festival screening, a man left shouting he couldn’t take it any more, and Tim Roth had to talk him down from pulling a fire alarm. The War Zone is very well shot, very well acted, and very well scored; this generally isn’t a problem, and isn’t one for this movie, per se. However, it does mean that anyone thinking of watching it needs to realize it will grab you forcibly and not let go until it slams the door in your face.

WHAT THE CRITICS SAY:

“I generally have little patience for this brand of art-conscious dragginess, but Roth, there’s no denying, creates considerable suspense out of our desire to confront the forbidden.”–Owen Glieberman, Entertainment Weekly (contemporaneous)

(This movie was nominated for review by “skunky.” Suggest a weird movie of your own here.)]

229. ROSENCRANTZ & GUILDENSTERN ARE DEAD (1990)

“No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.”
–T.S. Eliot, “The Love Song of J. Alfred Prufrock”

Recommended

DIRECTED BY: Tom Stoppard

FEATURING: , , , Iain Glen

PLOT: Two of Hamlet’s old school chums are summoned to Elsinore to glean what afflicts the moody prince. Along their journey they encounter a traveling troupe of Players, whose leader offers to a put on a performance for them. Magically transported to the castle from the Players’ stage, Rosencrantz and Guildenstern find themselves trapped within the convoluted machinations of the royal court, confused as to their own identities and struggling to keep their heads while discussing basic questions of existence and fate.

Still from Rosencrantz & Guildenstern Are Dead (1990)

BACKGROUND:

  • Adapted from his own 1967 hit play, Rosencrantz & Guildenstern Are Dead is the first and (so far) only film directed by accomplished playwright and screenwriter Tom Stoppard (who also contributed to Brazil).
  • The title comes straight from “Hamlet,” from the very last scene (Act V, Scene II). Arriving in Denmark to find nearly everyone in the royal court dead, the English ambassador bemoans, “The sight is dismal,/And our affairs from England come too late./The ears are senseless that should give us hearing,/To tell him his commandment is fulfill’d,/That Rosencrantz and Guildenstern are dead.”
  • Though it received tepid-to-positive reviews from contemporary critics (with most of the negative reviews comparing it unfavorably to the stage experience), Rosencrantz & Guildenstern did bag the top prize at the 1990 Venice Film Festival.

INDELIBLE IMAGE: I suspect I take no risk of spoiling the ending (the title itself gives something of a hint as to our heroes’ ultimate fate) by singling out the execution scene of Guildenstern and Rosencrantz. The former has a look of a man of reason who’s been broken by the illogical; the latter sports the complementary look of a man of whimsy who’s been worn down by niggling reality. Both accept their fate in states of differing exasperation.

THREE WEIRD THINGS: “Heads,” “heads,” “heads”…; am I Rosencrantz or are you Guildenstern?; play within a play within a play within a movie

WHAT MAKES IT WEIRD: Tom Stoppard’s semi-medieval world is one of modern wordplay, post-modern comedy, existentialism, tragedy, and ambiguous identity. As it stands, the movie is perhaps the only example to be found in the “Nihilistic Farce” genre of cinema.


Clip from Rosencrantz & Guildenstern Are Dead

COMMENTS: Sometimes it’s just better to stay home. This lesson is Continue reading 229. ROSENCRANTZ & GUILDENSTERN ARE DEAD (1990)