Twin Peaks: The Return Post Finale Thoughts and Is This Really The End?

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How Do I Feel About The Twin Peaks: The Return Series Finale?

I enjoyed the finale overall. It was challenging, thought-provoking, fascinating, and unsettling, but I also found the lack of resolution and closure a bit disappointing.

Initial thoughts aside, I am not in a rush to form a concrete opinion about the finale, because like any great mystery or art, it will take time to process, absorb, explore, review, and contemplate.

Ultimately, my opinion of the finale hinges upon whether episode 18 was truly intended to be the definitive end of Twin Peaks.

If this is the definitive finale and end to the show, then I will be a bit disappointed.

If it turns out not to be the end of the show, then that changes the framing of perspective on episode 18 completely.

If episode 18 is really a bridge between season 3 and season 4, I will appreciate the episode so much more, because it’s purpose will be apparent, and we will be able to enjoy the episode for what it is instead of holding it to the standards of a definitive finale.

My Theory About The Finale and the Future of Twin Peaks

I believe Lynch & Frost composed episode 18 in such a way that it left the possibility open for the story to continue.

What am I basing this theory on?

A number of key factors:

The Critical and Financial Success of Twin Peaks: The Return

In a recent interview, Showtime Networks CEO David Nevins told The Hollywood Reporter that Twin Peaks: The Return has been a financial success for the network:

From a financial perspective, Nevins says Twin Peaks has exceeded expectations. Its May premiere week drove the greatest number of free trial sign-ups for Showtime’s over-the-top streaming service since it launched in 2015. And while those numbers aren’t ones that the CBS Corp.-owned network will divulge, Nevins emphasized the number has held “remarkably steady.” In short, most of the people who signed up for that record number of trials have paid to keep Showtime the subsequent three months.

Seemingly Too Many Unresolved Characters and Sub-Plots Even For Lynch

From Audrey’s Horne, to Jerry Horne, to Ella’s pit rash, Lynch and Frost left many original series characters and new characters mid-development, or without any resolution or closure.

Many fans have chalked this up to Lynchian ambiguity, and this may be the case, but the lack of closure on so many old and new characters this time around feels a bit abrupt and cold, even for Lynch.

Episode 18: Finale? Or Set-up for Season 4?

Fans are divided on the series finale, but what if it’s true purpose is to be the set up for season 4 and the next stage of the story, and not the definitive end of the show?

The finale felt more like episode 1 of season 4 of Twin Peaks then it did a show finale.

David Lynch Has Stated He Doesn’t Plan on Making More Films

In a May 2015 interview with the Sydney Morning Herald, Lynch clearly stated that he is done making feature films.

He [Lynch] is uncertain at first, but then appears to make up his mind: he has indeed made his last feature film. That’s a yes? “Yes it is,” he says.

We Are Living in the Golden Age of Television

With the record amount of money being spent by streaming services and networks on original series and content in 2017 ($6 billion spent by Netflix in 2017, $4.5 billion by Amazon, Apple to spend $1 billion in 2018) and the level of artistic control for creators, there is no better time than now to be in television.

Lynch and Frost, being veterans of network television and Hollywood, without a doubt recognize the special time we are living in for creators and television production.

After the triumphant critical and financial success of Twin Peaks: The Return, it’s hard to find a reason why Lynch and Frost would want to hang up their hats now.

Is This Really The End?

Despite the collective notion among Twin Peaks fans that this was the definitive end to the show, there is actually very little evidence to support this, and when you look closer at the information available, there are many reasons to be optimistic about the prospect of more Twin Peaks.

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Film: The Void

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Despite the fact that 2017 is shaping up to be a depressingly lackluster year for film, there are still a few movies that have me excited, and one of those films is the new horror film The Void.

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From directors Jeremy Gillespie and Steven Kostanski, The Void is undeniably steeped in 80’s vibe, and immediately evokes H.P. Lovecraft, John Carpenter’s The ThingHalloween 2, and other great fantasy sci-fi horror films of the era, like Hellbound: Hellraiser II, Phantasm, and From Beyond, but it is very clear that The Void is not just a superficial retro nostalgia piece.

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Kostanski and Gillespie are part of the Astron-6 collective, a Canadian film production company known for 80’s-style, horror-comedy B-movies. Gillespie recently worked as assistant art director for Suicide Squad, and the new upcoming It remake. Kostanski was a make-up effects techinican for Crimson Peak, and special make-up effects artist on Suicide Squad and It.

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It is apparent from the teaser and trailers that The Void has great mood, tension, lighting, practical horror FX, and is truly scary and unsettling, all elements that are sorely lacking in most modern horror movies, so I am eagerly awaiting this film.

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The Void hits theaters on March 31, Digital HD on April 7, and DVD and Blu-ray on April 24. There is also an Our Screen page to set up a screening of The Void in your area.

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The Void
1h 30min  | Horror | 7 April 2017 (USA)
Directed by: Jeremy Gillespie & Steven Kostanski
Signature Entertainment

Review: Junius – Eternal Rituals for the Accretion of Light

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It is admittedly difficult for me to be objective when reviewing Junius, they are my favorite band, but I think it is undeniable that Eternal Rituals for the Accretion of Light is an incredible record that far exceeds any expectations, and will easily be one of the best releases of 2017.

Despite the departure of founding members and a three-year absence, Joseph E. Martinez and Dana Filloon have returned and delivered a record that both equals and transcends their already highly impressive catalog, and takes the band to a whole new level.

Recorded with longtime friends and recording engineers Will Benoit (Constants) & Daryl Rabidoux (The Cancer Conspiracy) of Radar Recording in CT, mixed by Benoit, and released by Prosthetic Records, Junius has crafted a record that is massive in depth, sound, and has a maturity and vastness that makes it their best work to date.

Not only does Eternal Rituals for the Accretion of Light have the signature heavy, dark, melodic, and epic Junius sound, the record also goes in some surprising new directions with songs like “Telepaths & Pyramids,” and “Masquerade in Veils,”that really pay off big.

Eternal Rituals for the Accretion of Light is an astounding achievement in that Junius has succeeded at something many other great bands have failed at: maintaining everything about their sound that defines them, while at the same time evolving, trying new things, going in directions not expected, and succeeding at it.

Jon Glaser Still Has Hope For a Fourth Season of Delocated

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In a recent Q & A with A.V. Club, Jon Glaser was asked by a fan what a fourth season of his cult show Delocated might have included.

Glaser proceeded to drop a bombshell of hope for hardcore Delocated fans and revealed:

I have an idea for a fourth season that I love, and I am still holding out hopes that it might happen, so I’ll hold off saying what any ideas might be until I get a 100 percent confirmed “This is never going to happen” from Adult Swim. Also, to be clear, it wasn’t so much that I “wanted” to do a fourth season. I certainly would have loved to do more, but I also thought it was a perfect place to end it. I am very proud of the show, and especially proud of the finale.

The ground breaking Adult Swim live action fictional reality series premiered in 2009 and follows Jon and his family as they move to New York City to enter the witness protection program after Jon testifies against the Russian mob.

Jon conceals his identity by wearing a ski mask and uses a “micro titanium voice harmonizer” to alter his voice. His arrogant, selfish, and self-absorbed personality gets him into all sorts of funny and sticky situations as he tries to navigate NY life, while trying to stay out of the Russian mob’s crosshairs.

Delocated is drenched with quirky, eccentric satire, and dark, deadpan humor.

The show features an amazing cast of supporting actors including Zoe Lister-Jones, Steve Cirbus, Mather Zickel, Jacob Cogan, Kevin Dorff, Larry Murphy, Jerry Minor, Ali Farahnakian, and guest stars like Paul Rudd, Michael Shannon, and Janeane Garofalo.

The comedic genius of Jon Glaser and PFFR is unique and singular. Delocated quickly became a cult classic and one of my favorite TV shows.

When it was announced that Delocated was calling it quits after three seasons, it was devastaing news to fans. The series finale aired on Adult Swim in March of 2013.

Though the chances seem very slim that Adult Swim will revive the series, us hardcore Delocated fans have now been given some hope to hold on to.

Delocated Seasons 1-3 are currently streaming on Hulu Plus.

Here are some of my favorite clips from Delocated:

Cinema Obscura’s Curated Guide to the Best Halloween Movies Streaming

It’s October 1st, which means our annual month long Halloween movie marathon is about to kick off tonight.

This year I decided I would make curated lists of the best Halloween movies on the top 3 streaming platforms: Netflix, Amazon Prime, and Hulu Plus. And as a bonus, I’ve added a list of 5 Halloween movies you can stream free on Crackle!

I have included horror classics as well as some more recent scary films that are sure to add to your Halloween horror movie marathon repertoire. If you want to view a trailer for a film, just click on the title.

I hope this guide enhances your Halloween streaming!

 

Cinema Obscura’s Guide to the Best Halloween Movies Streaming

Netflix:

The Babadook (2014) Jennifer Kent
From Dusk Till Dawn (1996) Robert Rodriguez
The Invitation  (2015) Karyn Kusama
John Dies at the End (2012) Don Coscarelli
Nightbreed (1990) Clive Barker
Re-Animator (1985) Stuart Gordon
The Taking of Deborah Logan (2014) Adam Robitel
VHS (2012) (Anthology, see IMDb)
We Are Still Here (2015) Ted Geoghan
Wes Craven’s New Nightmare (1994) Wes Craven

Amazon Prime:

An American Werewolf in London (1981) John Landis
Carrie (1976) Brian De Palma
Goodnight Mommy (2014) Severin Fiala, Veronica Franz
Let The Right One in (2008) Tomas Alfredson
The Mist (2007) Frank Darabont
Night of the Living Dead (Digitally Remastered) (1968) George Romero
Rosemary’s Baby (1968) Roman Polanski
The Town That Dreaded Sundown (2014) Alfonso Gomez-Rejon
Under The Skin (2013) Johnathan Glaser
The Witch (2015) Robert Eggers

Hulu Plus:

The Amityville Horror (1979) Stuart Rosenberg
Day of the Dead (1985) George Romero
Hellbound: Hellraiser II 
(1988) Tony Randel
Hellraiser (1987) Clive Barker
The Hills Have Eyes (1977) Wes Craven
House of the Devil (2009) Ti West
The Innkeepers (2011) Ti West
Invasion of the Bodysnatchers (1978) Phillip Kaufman
The Others (2001)  Alejandro Amenábar
Texas Chainsaw Massacre (1974) Tobe Hooper

Crackle:

The Blob (1988) Chuck Russell
Christine (1983) John Carpenter
Insidious (2010) James Wan
The Texas Chainsaw Massacre 2 (1986) Tobe Hooper
The Thing (1982) John Carpenter

 

Netflix Review: We Are Still Here (2015) Ted Geoghegan

I was eager to check out the 2015 indie horror film We Are Still Here despite some negative reviews and low ratings, and I was pleasantly surprised. We Are Still Here is a solid modern horror film that is dark, creepy, minimal, and a step above the majority of the newer horror titles currently streaming on Netflix.

We Are Still Here immediately establishes a creepy mood and builds the feeling of dread throughout the film. Director Ted Geoghegan did a lot with a little. It is nicely shot and a very simple but effective New England horror film that doesn’t explain too much and keeps thing ambiguous, which only lends to the creepiness.

Barbara Crampton (Re-Animator) gives a great performance as Anne Sacchetti, the grieving main character, and the supporting cast is simple but effective. The house is very creepy with an equally terrifying cellar, and the monster design is effective, fresh, and original.

Though there are some subtle digital effects on the monsters, the horror FX were virtually all in camera, which was another positive aspect of this film. No horrible obvious CGI to take you out of the film. The simple, practical approach to the monsters really kept the supernatural horror rooted in reality.

We Are Still Here is a simple, creepy modern horror film made with the influence of the great 70’s and 80’s horror classics, and is a solid choice if you are looking for a decent new creepy horror film on Netflix.

Netflix Review: We Are Still Here (2015) Ted Geoghegan Rating: 3-5

Cinema Obscura’s 2016 New England Drive-In Theater Directory

Conneticut:
Mansfield Drive-In Theatre: Mansfield Center, CT
Pleasant Valley Drive-In: Barkhamstead, CT
Southington Drive-In Theatre: Plantsville, CT


Maine:
Prides Corner Drive-In: Westbrook. ME
Skowhegan Drive-In: Skowhegan, ME
Skylite Drive-In: Madawaska, ME

 

Massachusetts:
Mendon Drive-In: Mendon, MA
Leiscester Triple Drive-In Theatre: Leicester, MA
Wellfleet Drive-In Theatre: Wellfleet, MA


New Hamphire:

Milford Drive-In: Milford, NH
Northfield Drive-In: Hinsdale, NH
Northern Nights Drive-In: Lancaster, NH
Weirs Drive-In Theater: Laconia, NH


Rhode Island:

Misquamicut Drive-In Theater: Westerly, RI
Rustic Drive-In Theatre: North Smithfield, RI


Vermont:

Fairlee Drive-In: Fairlee, VT
Sunset Drive-In: Colchester, VT