David Lynch‘s stunning Twin Peaks season 3, also known as Twin Peaks: The Return, comes to Blu-ray as a must-have box set loaded with fascinating and revealing looks behind the production. Just as they did so many years ago, David Lynch and Mark Frost have created a TV event unlike any other before, and probably unlike anything that will ever come after it. Here, as one cohesive Blu-ray, we have the chance to watch the saga unfold from beginning to end, which might very well be the best way to experience the show. Our Twin Peaks season 3 Blu-ray review below pulls back the red curtain and journeys into the unknown. Join me?
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Actress Joey King gives an excellent performance in The Conjuring. The sense of fear and terror she expresses is unsettling, especially during the “there’s someone behind the door” sequence. Not all actors are believable acting scared, but she can pull it off. Now she’s back in the horror genre with Wish Upon, which reunites her with The Conjuring‘s cinematographer, John R. Leonetti, who directed that film’s hit spinoff, Annabelle.
Below, watch the Wish Upon trailer.
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Twin Peaks isn’t just back — there’s more of it coming than anyone expected.
The return of Twin Peaks has already become a saga, with Showtime setting up a nine-episode third season to air in 2016, with David Lynch directing all episodes and co-writing with Twin Peaks co-creator Mark Frost. Then Lynch bailed on the series, reportedly over budget and deal issues. But Showtime worked things out with Lynch, and the director returned, just in time for Showtime to announce the third season had expanded from its original nine-episode order.
We didn’t know much more than that. What would be the final Twin Peaks season three episode count? And who else will return to the series now that Lynch is fully on board? During a convention appearance, Sheryl Lee and Sherilyn Fenn revealed some details. Notably, that the series order has doubled, and there’s a suggestion that Angelo Badalamenti, the musical voice of the show, is also coming back. Read More »
Posted on Tuesday, November 26th, 2013 by Angie Han
If you adore films about people who are trapped in an enclosed space and forced to fight to the death, as the fates of their loved ones hangs in the balance, you probably went out of your way to see The Hunger Games: Catching Fire this past weekend. If you then walked out of the theater disappointed because it wasn’t nearly bloody and gritty and grown-up enough, then Raze may be the film for you.
Directed by Josh C. Waller, this action-horror stars Zoë Bell (Death Proof) and Rachel Nichols as two women who are abducted and wake to find themselves in a concrete bunker with 48 other women. They then realize that they must kill the others, because if they refuse to fight or lose, their families will suffer. Tracie Thoms, Doug Jones, Sherilyn Fenn, and Bruce Thomas also star. Watch the trailer after the jump.
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It’s a crazy, mixed up world and we are thankful for movies, excluding Valentine’s Day starring every safe, boring white actor ever, that offer proof. Slashfilm’s Weekend Weirdness examines such flicks, whether in the form of a new trailer for a provocative indie, a mini review or an interview.
In 1986, a supernatural moto-fantasy about a murdered bro who returns via a phantasmic, black stealth race car to kill his killers was released on Earth and no one gave a shit. More than two decades later, The Wraith, though forever without a wet ‘stache lick from Peter Travers, is cult-minted for being memorable-enough ’80s-ploitation. Next month sees the release of a Special Edition DVD that adequately recognizes and explores the movie’s legacy and history with commentary courtesy director Mike Marvin and featurettes on the film’s semi-iconic Dodge racer and co-star Clint Howard (who, if not semi-iconic himself, sported a semi-iconic wig inspired by Eraserhead for the film).
Revisiting The Wraith, what’s interesting is how this derivative hybrid of genres and classic revenge films—Marvin references High Plains Drifter and The Road Warrior—remains sublimely adolescent but in an inherently cold and detached way. Stranger still is how this suits the film’s undead hero, vehicle, and hints of an afterlife with a decidedly mechanical bent. And before viewing the S.E. I had no idea a crew member died and many others were injured in a chase scene gone awry. One stunt coordinator recounts how a grip fell 60-feet down a rocky embankment and was only found knocked-out but okay hours later. Nor did I know (or need to) that a sunbathing scene with lead star Charlie Sheen as the titular, ghostly hero and co-star Sherilyn Fenn (Twin Peaks, Wild at Heart) was shot on a “near-freezing” day. Hearing these stories, I wonder now if the troubles of the production didn’t contribute to the overall tone. And looking back at the film itself, which was released the same year as Top Gun, Ferris Bueller, and Blue Velvet, might The Wraith, however unintentionally, deserve to be called Lynchian?
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