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| 1. Twin Peaks: Pilot Director: Tim Hunter, Uli Edel, James Foley, Diane Keaton, Tina Rathborne, Mark Frost, A.J. Webb, Jonathan Sanger, David Lynch, Lesli Linka Glatter, Duwayne Dunham, Caleb Deschanel, Todd Holland, Stephen Gyllenhaal, Graeme Clifford | |
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Reviews (19)
I took a risk and I'd do it again because this show is one of the greatest achievements of all TV time. The pilot is a perfect intro to the show, establishing the characters and plots, the main one and various subplots, that it's addictive. WHO KILLED LAURA PALMER!? The mix of light and dark, quirky humor, heavy drama, fantastic production values, and so much more! If you haven't seen any of the show, stay clear of the last 15-20 minutes. I heard about the special ending and found out that the original pilot ends at Sarah Palmer's scream after her dream. End it there, watch the rest of the series, then go back and watch the ending. Other than that, sit back, relax, and ENJOY! And believe me, YOU WILL!
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| 2. Twin Peaks: Pilot Director: Tim Hunter, Uli Edel, James Foley, Diane Keaton, Tina Rathborne, Mark Frost, A.J. Webb, Jonathan Sanger, David Lynch, Lesli Linka Glatter, Duwayne Dunham, Caleb Deschanel, Todd Holland, Stephen Gyllenhaal, Graeme Clifford | |
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Amazon.com Reviews (19)
I took a risk and I'd do it again because this show is one of the greatest achievements of all TV time. The pilot is a perfect intro to the show, establishing the characters and plots, the main one and various subplots, that it's addictive. WHO KILLED LAURA PALMER!? The mix of light and dark, quirky humor, heavy drama, fantastic production values, and so much more! If you haven't seen any of the show, stay clear of the last 15-20 minutes. I heard about the special ending and found out that the original pilot ends at Sarah Palmer's scream after her dream. End it there, watch the rest of the series, then go back and watch the ending. Other than that, sit back, relax, and ENJOY! And believe me, YOU WILL!
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| 3. Twin Peaks - Episodes 25-29 Director: Tim Hunter, Uli Edel, James Foley, Diane Keaton, Tina Rathborne, Mark Frost, A.J. Webb, Jonathan Sanger, David Lynch, Lesli Linka Glatter, Duwayne Dunham, Caleb Deschanel, Todd Holland, Stephen Gyllenhaal, Graeme Clifford | |
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Reviews (8)
Unfortunatly it's very obvious that the last episode was intended to be a cliff-hanger and that they expected to make more. Be warned that while it is very interesting, many questions are left un-ansered(and never will be), many new questions are asked, and the audience never knows what the fate of several of the characters is. Of course, if you are reading this I assume you have seen the other episodes already and you're probably going to see these regardless of what I say. Enjoy...
The other plotlines are also strong. Especially intriguing is the Andrew Packard character, as he (along with Catherine and Pete) deals with the mysterious black box. Dan O'Herlihy has a great stage presence as Packard; I wish he could have been featured more in the series. The build up to Episode 29 is nicely done -- Lynch's direction of the final episode has that first season feel to it (though a little darker). It would have been a great season-ending cliffhanger (I would have been interested to see if Major Briggs went to the rescue at the Black Lodge), but remains an odd end to the series. For these espisodes, the only major complaint is that they deserve to be on DVD. For the future, I would love to see some sort of continuation of the story nearly ten years later. It would be fun to have a Lynch/Frost/Chris Carter collaboration on a movie combining "Twin Peaks" with the "X-Files." It probably won't happen, but this series deserves more.
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| 4. Twin Peaks - Episodes 20-24 Director: Tim Hunter, Uli Edel, James Foley, Diane Keaton, Tina Rathborne, Mark Frost, A.J. Webb, Jonathan Sanger, David Lynch, Lesli Linka Glatter, Duwayne Dunham, Caleb Deschanel, Todd Holland, Stephen Gyllenhaal, Graeme Clifford | |
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Reviews (5)
One subplot, with James Hurley helping a hot blond woman fix her car, plays like a overwrought fifth season "Twilight Zone." Another embarrasing plot deals with Ben Horne and the Civil War. And Kenneth Welsh goes over the top playing Cooper's former partner, Windom Earle. There are good parts even in these five episodes, including a wonderful performance by David Duchovny in episode 20 and continued strong acting from Kyle MacLachlan, Michael Ontkean and many others. Episode 24 is vastly improved over the previous three and the plots become stronger as the season (and series) wound down, but I suspect the poor quality turned many viewers off. The writers didn't seem to be ready to fill the gap once Laura Palmer's murder was solved, and that probably doomed the series.
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| 5. Twin Peaks - Episodes 15-19 Director: Tim Hunter, Uli Edel, James Foley, Diane Keaton, Tina Rathborne, Mark Frost, A.J. Webb, Jonathan Sanger, David Lynch, Lesli Linka Glatter, Duwayne Dunham, Caleb Deschanel, Todd Holland, Stephen Gyllenhaal, Graeme Clifford | |
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Reviews (4)
Buy this item, and enter the universe of David Lynch. Welcome to Twin Peaks - welcome to the 90's! ... Read more | |
| 6. Heaven Director: Diane Keaton | |
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The first is as a completely objective, thorough, and -- heaven help us -- "authoritative" documentary, even if only a documentary of American lay attitudes on the subject. Keaton does not appear onscreen (is this a poke at our God-like images of poll-takers -- and movie directors?) nor is her voice heard (her prompt-questions, arranged by subject, e.g. "Is There Sex After Death?", are edited out), but her presence is felt; she draws her material from two primary sources: public opinion, and popular media imagery. This should clue the viewer into the non-literalness of her "documentary" format. Michael Moore (accepting his Oscar for "Bowling for Columbine") claimed that documentary film-makers are objective truth tellers -- a shameful lie at best; documentary film-makers are essayists, presenting facts that support the argument for a particular viewpoint. What Keaton's own opinion is of the Here-and-Now's view of the Hereafter is the puzzle the viewer is invited to tackle. This is why she selects, not experts, or well-reasoned or "balanced" viewpoints, but the viewpoints contained in our lore of heaven. The films and TV images are a part of our shared lore, and the opinion of the man-on-the-street is not that of the average man on the street, but the average resident of or visitor to Southern California (what the film was shot), the sort of resident or visitor or who would willingly consent to sit in an interview room resembling a set from "Queen of Outer Space" and reveal one's deepest hopes, shallowest ideas, greatest fears, or simply one's long-fallow right-brain opinings on a subject that in daily life most everybody does have an opinion of, but somehow never gets asked about. Serious anthropological analysts of public opinion and experts seeking information about heaven (?!) will go nuts sorting out the "facts" here. Rather than walk away informed, the viewer is provoked by Keaton into asking his or her own serious questions. The other wrong approach is to not take the subject matter, or Keaton's selection of images (including scenes from "Buck Rogers" and "Stairway to Heaven"), or her sociological guinea pigs' responses, seriously *enough*. The film itself IS a laugh riot, make no mistake. Keaton has not abandoned her comic roots for a second. Keaton intersperses her individual interviews of the pedestrians along Hollywood Boulevard with clips from famous, infamous and long-forgotten films on the subject, as well as excerpts from religious TV shows presenting "expert" views for TV congregationalists. But underlying this superbly edited collection of Hollywood, religious, fringe and personal spiritual kitsch is a subtle but profound sense of earnest curiosity and longing coupled with a level of sincerity one rarely finds in public discourse, much less films (even documentaries) these days. The film ends with the last and longest of a set of comments made by Keaton's mother: a rebuttal to all of the fantasy images preceding this final moment, a dour, atheistic and utterly unabashed perspective on heaven worthy of Mark Twain or Ambrose Bierce. Mother Keaton knew she was dying when she gave her interview, and this "last word" sets the viewer up straight. Eighty minutes of animated, comical "evidence" and "argument" on a subject no one really knows anything about strikes the viewer as absurd. But while the images that we share of "heaven" have been drawn from (and determined -- even co-opted) by Hollywood, religious fundamentalist media organizations and various alternative "fringe" groups, Mother Keaton's comments pull us back from the familiar, hokey images to the object they purport to represent: the concept behind and the significance of Heaven itself, not just as a place and time in human existence (or not), but as a benchmark for our own progress, our own development, our own achievement and meaning in this Earthly life. Keaton's negative comments regarding heaven, as personal and as opinionated as any of the preceding views presented, is not as easily dismissed. They prompt the most serious of questions: What do our lives, our successes and failures, our actions and inactions, our joys and sufferings, the very meaning of our lives, add up to? Believers and non-believers alike, as they leave the theater (or rewind the videotape) are left hanging, and thinking about what the end (the aim, purpose, goal, etc.) of humanity in general and each of us personally IS. Mother Keaton's final statement of skepticism dispels the giddy, shallow feeling- superior- and- above- it- all hilarity audiences feel throughout the film. We are left at the end with aching, unanswered, philosophical -- but by no means academic -- questions to ponder, central to our being: If the comic images of heaven we have been watching all this time are false, then what IS the truth? If Mother Keaton's cynicism is too sour and bleak to accept -- then what do we, or should we, or can we, believe? What is it all for? Why are we here? What becomes of us?
For me, this film is better than any of Woody Allen's movies, except for "Sleeper" which is even crazier. This film itself is a sleeper that will likely get a lot more attention years down the road. The fact that Keaton directed it makes the viewing all the weirder. In America's culture of total fear of everything it's a film worth watching. If you have a sense of irony, can appreciate the juxtaposition of heartfelt interviews with bizzare religious film footage, and can "get" this level of hilarious film making, this one's for you. If you lack these critical viewing skills please give your copy of this film to someone who does, it's a brilliant, must-see movie!
Father, "I'll sit on a rock and wait for you ... It'll probably be a gold rock." Posturing and dogma; Life-is-hard" rants by broken people; Forced discourses by people not really interested. The movie clips seemed meaningless to me. Self indulgent film making?
I enjoyed laughing at the many assorted kooks until I remembered that the majority of Americans probably share their views. Evolution has some catching up to do. Check it out. ... Read more | |
| 7. Wildflower Director: Diane Keaton | |
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| 8. Unstrung Heroes Director: Diane Keaton | |
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First, the cast is magnificent and do an excellent job in the movie. Although Michael Richards has type-cast himself due to his strong personality in Seinfeld, he did an amazing job of portraying an equally quirky character. John Turturro is generally amazing in everything and although Andy McDowell is a bit mechanical in her acting, she showed a range in this movie that was well beyond what we're use to in her other pictures. Second, the story itself, albeit altered from the book, had a very nice flow and for a two hour film, conflict and depth was developed. These things made the film not only watchable but also thought-provoking. So, if you like thought-provoking movies and willing to accept that character depth is difficult to achieve in a movie, you might just like this one. The price ... is not incredibly steep but a viewing from a library copy might be just the thing to convince you this movie is worth buying.
In the mood for something just a little different? Try spending some time with Michael Richards and Maury Chaykin. They're about as different as you can get. They are Danny an Arthur Lidz, the two very eccentric brothers(not too far removed from Richard's 'Kramer' character on "Seinfeld")who take in their young nephew Steven when things at his house are a little tough to take. Steven Lidz has always been a bit different from the rest of the kids, this no doubt due to the fact that his father is a bit of an eccentric himself.He is learning to deal with his father's way of life, but when he learns of his mother's terminal illness it's more than he can handle and runs away to stay with his uncles. Uncle Danny and Uncle Arthur are not the ideal choice for baby-sitters, but may be able to teach Steven and his father what's important in life. The story based on a book by Franz Lidz(the now grown Steven), set in the 1950's, will evoke many emotions. It is touching, at times poignant, sometimes funny, but most of all, I found it to be very heartwarming. It a story of love and family. Diane Keaton directs this emotional film, and gives us a look at her terrific behind the camera talents.Richards and Chaykin are perfectly cast in the roles of the uncles. Nathan Watt plays the young Steven(Franz) and holds his own with seasoned veterans Andie MacDowell and John Turturro as his parents.The music by Thomas Newman is as moving as the story, and was nominated for an Oscar. The DVD is a good buy for the price. It has a nice clear picture, with good color and is presented in widescreen.The sound in Dolby Dig Surround(stereo) is very good.It may be viewed in French and has subtitles in Spanish only.There are no other features. For a few smiles, a few tears, and lots of love, check this one out and enjoy.....Laurie
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| 9. Hanging Up Director: Diane Keaton | |
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We meet Eve, played by the effervescent Meg Ryan, the overwhelmed middle sister in a family of driven, slightly neurotic individuals. Oldest sister, Georgia (Diane Keaton who also directs) is typical oldest child, overachiever material with her own Vogue-esqe magazine, named Georgia. Youngest sister Maddy is a somewhat spoiled soap opera star played to whiney perfection by Lisa Kudrow. Last but not least, is the dying father, Lou, with the ever-grumpy and inappropriate Walter Matthau at the helm. The film has woven together the present with a series of flashbacks to Eve's childhood as well as flashbacks during her time with her father in her adult life. Amidst all the flashbacks, is the busy, crazed daily routine of party planner Eve and her attempt to understand what is happening to her father. She must also deal with a level of resentment towards her sisters for being an interruption into her life with all their phone calls, but not being a shoulder to lean on for her where their father is concerned. Hanging Up does a great job demonstrating just how stressed out people can get. There is regular day-to-day stress and then there is the stress you bring on yourself purely because of a basic personality flaw. I have firsthand knowledge of making stress out of things that don't have to be stressful. First ulcer at age fourteen, thank you very much. I can understand Meg Ryan's character and her propensity for making mountains out of molehills. The most rewarding thing about watching a character like that is watching the "change". Let's not forget, folks, in a movie, the main character usually makes a personal change, has an epiphany, changes their life, or ends a destructive pattern. What is drama? Putting an ordinary person in extraordinary circumstances. What Eve does early on in the film is reach a level of frustration that is so high she makes a scene in the middle of a hospital corridor. Why is that so entertaining? Because she sort of freaks out and that's something regular people WANT to do, but CAN'T because we behave within the confines of societal norms. If I'm having a bad day, and I am in the middle of St. Anthony's and start yelling and flailing my arms, someone is gonna drag me to the fourth floor. In the movies you can scream and act like an idiot, in real life people look at you and say, "the cheese has slipped off her cracker". Despite the frenetic pace of Eve's day to day routine and the frequent flashbacks, Hanging Up lacks the same gusto in its attempt to impact the viewer with the seriousness of a dying parent. Matthau's character seems to be little more than window-dressing with his scenes all virtually being nothing more than one-liners from the confines of his wheelchair or hospital bed. I guess I feel a dying parent would be a more significant story factor here than it seemed to be. While I admit to becoming a little misty from time to time during the film, I was looking for gut-wrenching Terms of Endearment stuff. Hanging Up fell a little short for me but I'm sure people to whom a similar situation has happened may have a stronger emotional reaction. However, there are two instances where Hanging Up was borderline daring, dealing with subject matter that I have seen little of, if ever. There is an obvious rift between Eve and her mother, from whom Lou was divorced many years before. We are given a taste of Eve's view of her mother from the flashback scenes, but the real drama comes when, in one of the flashback scenes Eve pays her mother a visit. Eve goes to her mother (Cloris Leachman) to plead for her to return home because her father is so unhappy. Aside from that being a difficult confrontation for anyone to deal with, is the revelation that she's not all that satisfied with being a mother in the first place. Other girls couldn't wait to grow up and become mommies, so she thought she did too and it didn't take. The thought of hearing that coming out of a mother's mouth is almost like a kick in the stomach, which is exactly the reaction Ryan's character seemed to have. Talk about taboo, admitting to your child you wish you weren't a mother. Somebody call Jerry Springer, next topic, "I Wish You Were Never Born". Another explosive element is the basis of the father's illness. His memory and clarity are more off than on. The sadness of a person slowly losing their mind, slowly forgetting everyone and everything dear to them is pathetic and emotionally charged. Hanging Up touches on this hopelessness in a moment of confusion, when Matthau's character confuses his daughter with someone else he used to know and basically, is hitting on her. Eve has to remind him that she's his daughter, not this other person and he becomes angry, stating he doesn't have any daughters. It's icky. But sometimes life is icky and this scene is a blatant reminder of just how icky things can get. Hanging Up finally gets its message across when Ryan's character must basically get a grip and learn when to say when. She can't be superwoman, bearing the responsibility of what is happening to her father all by herself. I must also stress the importance of the sister relationships to the film as well, which I have no understanding of either since I have four younger brothers. I always wanted a sister, but with all those brothers, what I got instead was my own room. Women with sisters may take more away from this movie than any other viewer. Hanging Up isn't for some, great for others. This is one where your own life's experiences will impact your perspective on the film.
In this movie, Meg Ryan plays the one that gets all the work and none of the credit. She does just a wonderful job, as does Walter Matthau as the father suffering from Alzheimer's disease. Though I might question some of the casting, based on ages of the actors (17 years difference between the oldest and youngest children!), even Kudrow and Keaton play their parts well...as spoiled, self centered siblings. I believe what may be a turn-off to some is the presence of TOO MANY obnoxious personalities. The movie would have been much better without the presence of Adam Arkin's or Jesse James's characters...and I probably would have felt more sympathy for Meg Ryan's character as well. Though the movie was far from perfect, there were some emotional moments in the movie that made up for its shortcomings. I think the biggest problem with the story line was the unrealistic unity of the sisters at the end of the movie. Self-centered individuals do not suddenly change their ways. Had Meg's character gone on her way, leaving the sisters to SEE the error of their ways, it would have been a much more effective ending. As for the transfer....as usual, a fantastic anamorphic widescreen picture from Columbia. The special features are not great, but certainly more than one gets on most basic DVD's. In the end, I would say this is an enjoyable...though not completely fulfilling movie. It could have been better, but it is definitely worth a rental...or if you can find it in the bargain bin as I did....a cheap purchase. {As an added challenge....see if you can recognize the film error as the cars are racing to the hospital toward the end of the movie.)
Many people view this movie as a comedy. It is definitely not a comedy. It is a drama. If you watch closely and really pay attention to what is going on, then you'll see the difference. Eve (Ryan) is trying to balance her son and husband and caring for her father. Something that Maddy (Kudrow), a soap star and Georgia (Keaton), the head of a magazine entitled 'Georgia' will not do. They are too wrapped up in their own lives to come and help care for their dying father. Yes, the ending is a little predictable, but it is also very touching. If you're looking for a movie that has everyone getting along all the time, don't rent this. But if you want to watch a movie that shows what true family can be, rent this. Granted, many families are not like this, but hey, you never know!
Anyway, I thought Meg Ryan was terrific in this film. In her other films she always tried to be cute and funny. When I was younger I liked that, but then I found her boring. But she's good in this one as the middle child who has the (mis)luck of caring for her dying father. Keaton, on the other hand, is totally unconvincing as either a magazine mogul or first daughter, and she had no screen presence at all; plus her outfit and makeup, which are meant to make her character look younger than the actress herself, are a disaster. Kudlow does what she does best: playing a dumb, clueless blonde. As for the story, it has certain charms, but ultimately falls apart because it's confusing and melodramatic. (Be sure to watch a deleted scene on the DVD.) As some reviewers pointed out all too often the movie seems directionless, and the on-screen chemistry of the three sisters is rather lacking. Funny Evie keeps asking about the name of a "bland" actress from the 50s; the movie just gets more and more bland. But Ryan is good enough that she keeps the film moving and makes me like her again.
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| 10. Twin Peaks: Episode 04 Director: Tim Hunter, Uli Edel, James Foley, Diane Keaton, Tina Rathborne, Mark Frost, A.J. Webb, Jonathan Sanger, David Lynch, Lesli Linka Glatter, Duwayne Dunham, Caleb Deschanel, Todd Holland, Stephen Gyllenhaal, Graeme Clifford | |
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Also lots of other special guests like billy zane add a little variety to an already fabulous cast. I recommend this to anyone, twin peaks is quite unusual.... ... Read more | |
| 11. Twin Peaks: Episode 03 Director: Tim Hunter, Uli Edel, James Foley, Diane Keaton, Tina Rathborne, Mark Frost, A.J. Webb, Jonathan Sanger, David Lynch, Lesli Linka Glatter, Duwayne Dunham, Caleb Deschanel, Todd Holland, Stephen Gyllenhaal, Graeme Clifford | |
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| 12. Twin Peaks - Episodes 6-9 Director: Tim Hunter, Uli Edel, James Foley, Diane Keaton, Tina Rathborne, Mark Frost, A.J. Webb, Jonathan Sanger, David Lynch, Lesli Linka Glatter, Duwayne Dunham, Caleb Deschanel, Todd Holland, Stephen Gyllenhaal, Graeme Clifford | |
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| 13. Twin Peaks - Episodes 10-14 Director: Tim Hunter, Uli Edel, James Foley, Diane Keaton, Tina Rathborne, Mark Frost, A.J. Webb, Jonathan Sanger, David Lynch, Lesli Linka Glatter, Duwayne Dunham, Caleb Deschanel, Todd Holland, Stephen Gyllenhaal, Graeme Clifford | |
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| 14. Twin Peaks - Episodes 1-5 Director: Tim Hunter, Uli Edel, James Foley, Diane Keaton, Tina Rathborne, Mark Frost, A.J. Webb, Jonathan Sanger, David Lynch, Lesli Linka Glatter, Duwayne Dunham, Caleb Deschanel, Todd Holland, Stephen Gyllenhaal, Graeme Clifford | |
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Just buy this...It's worth all the money. It's not easy to come by so buy it as soon as you can. The only thing you should be aware is that if you buy the boxed set or even separate tapes of this, you won't get the pilot episode. It's not for sale!!!! There is a pilot episode out there, but it's the "european version" which means it have a different ending, so the ending of the pilot doesn't match the beginning of episode 2. (Actually the pilot is listed as episode 0 and the second episode is 1 etc). So don't be fooled. It says "episode 1" on the cover, but it's actually no.2. The only way you can watch the original pilot episode with its original ending is on TV. I've heard that it's going to be released on DVD with the pilot, but you shouldn't count on it... Well enough of the facts!! The whole thing is 26 hours and 10 minutes long and I've seen it 15 times, so you should too. (It's true, I've seen it 15 times and I'm not tired of it yet). Thank you
They should have stopped after the first series of Twin Peaks. The first series all ties up nicely at the end and is one of the weirdest and most original murder mysteries of all time. The second series loses its way a bit but it does have its moments and the ending is, well, just what you would expect from Twin Peaks! ... Read more | |
| 15. The Girl with the Crazy Brother Director: Diane Keaton | |
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| 16. Twin Peaks: Episode 02 Director: Tim Hunter, Uli Edel, James Foley, Diane Keaton, Tina Rathborne, Mark Frost, A.J. Webb, Jonathan Sanger, David Lynch, Lesli Linka Glatter, Duwayne Dunham, Caleb Deschanel, Todd Holland, Stephen Gyllenhaal, Graeme Clifford | |
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Attempting a summary of how this episode fits into the overall storyline would likely take longer than the space alloted here, but it should be remembered that the mystery of "Who killed Laura Palmer?" was never really the point of the show. The mystery it posed was really just a device to move the plot along so that we could get to know the characters, and in this respect Lynch excels. The focus of the episode is Agent Cooper's unconventional investigative tactics, but what we remember is what the process of the investigation reveals about Cooper and those around him. We remember little moments like Cooper's joyfuul exclamation, "Damn good coffee. And hot!" These little moments are what defines character, and when you strip away everything else from Twin Peaks, character is what remains. These people are in varying degress loving, petty, deceptive and endearing. In this respect they are more like all of us than might be apparent from the first glance. David Lynch's greatest gift is that he understands this and has the skill to put it on screen. ... Read more | |
| 17. Twin Peaks: Episode 01 Director: Tim Hunter, Uli Edel, James Foley, Diane Keaton, Tina Rathborne, Mark Frost, A.J. Webb, Jonathan Sanger, David Lynch, Lesli Linka Glatter, Duwayne Dunham, Caleb Deschanel, Todd Holland, Stephen Gyllenhaal, Graeme Clifford | |
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| 18. Wild Flower Director: Diane Keaton | |
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| 19. Twin Peaks: Episode 06 Director: Tim Hunter, Uli Edel, James Foley, Diane Keaton, Tina Rathborne, Mark Frost, A.J. Webb, Jonathan Sanger, David Lynch, Lesli Linka Glatter, Duwayne Dunham, Caleb Deschanel, Todd Holland, Stephen Gyllenhaal, Graeme Clifford | |
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