The Evolution Of The Arm (Twin Peaks, Episode 2)

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Everyone who has watched TV during the last quarter of a decade remembers two things from Twin Peaks – even if you didn’t watch the show – the Log Lady, and the dancing dwarf. The dancing dwarf, unforgettably portrayed by Michael J. Anderson, who didn’t return to the show due to payment dispute with Showtime. He played a a character called The Arm, who is actually the chopped-off arm of MIKE, the one-armed man.

One of the things I love about David Lynch‘s work is when an apparent, crippling limitation hits you – like the most important actor not accepting the paycheck and dropping from the show – you take it as an opportunity, not a hinderance.

Instead of writing the character out, you “evolve” it. So, The Arm is back, but he has evolved into what appears to be an electric tree with a lump of a talking brain on top. The new creation is both thought-provoking, mildly nauseating and somehow seems to be fitting the world of Lynch perfectly.

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What’s revealed early on in the episode is that everyone – MIKE and The Arm – are looking for BOB, because he stole something called garmonbozia, the pain and sorrow, fuel of the Lodge-dwellers.

This all may seem confusing, but think it in different terms: BOB stole MIKE’s lunch and disappeared. MIKE is worried as he’s getting hungry, and sends Cooper to get it back.

But then, things turn weird for Cooper. Just as he’s ogling the road to freedom for the first time in 25 years, the evil doppelgänger of The Arm appears, attacks Cooper and throws him into something called Nonexistence.

The careful balance of the Lodges has been altered, and someone is about to get hurt.

In the real world, Mr. C – BOB-infested Cooper – goes on a killing spree. Kyle Maclachlan dives deeper into the murky black waters of evil, and plays his role more intensively than I’ve seen anyone do in a long time: he’s a man on a run, driven by a strong survival instinct, and no-one’s gonna stop him. He’s heartless, cold and scary as hell. Lynch builds his character up carefully, giving ample amount of time to his scenes – and that’s the whole beauty of the new Twin Peaks, you never feel rushed, you never feel Lynch wants to throw you out of the scene and you’re always able to take in all the carefully planted details of each scene.

Promisingly, also, David Bowie‘s character is back – at least, in the dialogue level. It becomes apparent quickly that Mr. C has teamed up with the “long lost agent Philip Jeffries”, whom we met in Twin Peaks: Fire Walk With Me, played by Bowie. It’s yet to be seen what comes of this, since when Mr. C tries to call Jeffries, someone else answers.

There’s one thing that’s slightly worrying with the new Twin Peaks – the visual effects. Produced by BUF in France, the visual effects facility is indeed a high-end player, having worked with films like Independence Day: Resurgence and Blade Runner 2049, but Lynch is not used doing a lot of modern VFX, so maybe he’s letting BUF go a bit easy – many visuals are more like from the early 90’s TV than what one is expecting from today’s shows – double exposure style, jumpy disappearance effects and so on. It’s also possible many of the apparent bad visuals are intentionally bad, reminiscent from the Lynch heydays of Wild at Heart and original Twin Peaks run,  but when it comes to wounds and such “realistic” effects – like the body in the first episode, and the head wound in the second – it’s plain bad VFX.

The second episode walks towards the darkening skyline peacefully. It is, yet again, absolutely thrilling to see Lynch taking his time with the scenes, building the little weird moments between characters, and creating the threatening atmosphere with sounds, cuts in dialogue when nothing is said or even done, while sprinkling hints of the bigger plot.


I’m Back (Twin Peaks, Episode 1)

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It’s easy to get fooled by David Lynch. Things that appear extremely dadaistic, confusing and dream-like – Lynchian, as one might call them – are usually pretty clear in the end, if you’re willing to step into the world which Lynch has created for us, with laws you agree with. The world, where BOB roams the Earth, the dwarves dance and people talk backwards is no different from say Tolkien‘s world of elves, dwarves and hobbits fight the dragons. Once you accept these creatures exist,  it’s a world of magic where certain things can happen that don’t in our world, but simultaneously, certain laws are there to protect us – the viewer – from ridiculousness, disbelief and abandonment.

But where as Lynch’s magical universe of Twin Peaks is not unlike the one of the masters of fantasy literature, one gets easily betrayed by the “normal” world, the characters who, on the first glance, appear to be just the regular janes and joes. The locations, which are nothing more than just a typical hotel, an old guy getting a delivery of spades or an innocent conversation between a two people, may hold much more to be interpreted in them than would appear.

Twin Peaks begins calmly, from one of the Lodges – the extradimensional spaces where the spirits live. The Giant – now known as ?????? – tells now 25 years older Cooper to listen to the sounds from a gramophone. We hear crackling noises. Then, few mysterious tips – and Cooper disappears.

What follows is a tightly-written and extremely well-crafted ambience of threat that’s looming over several creepy settings – a dire looking concrete room in a skyscraper in New York, with a glass box in it, a colourful residential building in Buckhorn, South Dakota with a body in one of the rooms, and of course several well-known places such as The Great Northern Hotel, Twin Peaks Police Department and so on.


And we meet already a hefty set of characters, all of which are dauntingly interesting and life-like, despite being somehow very stiff and strangely behaving. There’s the student who has been hired to observe the glass box in New York, and his girlfriend. There’s the resident who acts somewhat scared in the presence of the police, and almost seems to recognize one of them. There’s the head principal of Buckhorn, who gets accused of a double-homicide. We meet deputy Hawk, Andy and Lucy, Ben Horne and his brother Jerry and Dr. Jacoby, too. And, of course, most interestingly, we meet the long-lost agent Cooper, who goes now by the name of Mr. C.

And that’s where the story really gets going – and that’s why we’re here, sitting on the edges of our couches all across the world. We want to know what happened to Cooper, the well-behaving, coffee-loving, sharp-dressing agent who – as we remember from the end of the first run of Twin Peaks – got inhabited by the spirit BOB.

Arriving with spanking new Mercedes-Benz down a dusty road, Cooper is now boasting a Nick Cave -type of a hairdo, raven-black, long and combed down behind his ears. He’s in great shape, only his face betrays the 25 years that have passed. Well, his eyes are full black, so there’s that, and Cooper’s old suit is gone – now he’s wearing a black leather coat and jeans.

From what we can learn in the first episode is that he’s been missing. We don’t know exactly yet what he’s been up to, but one thing is for sure – it’s nothing nice. He’s dealing with rather dubious folk, and he’s looking for something. Simultaneously, we learn that a spirit of some kind gets loose from the world of the Lodges. The glass box the student has been observing breaks up, and kills the loving couple. And then there’s a new serial killer on the loose – the body found from Buckhorn is a severed head of a woman, and a body of a man. And the Log Lady gives Hawk an important clue – something is missing.

Lynch meticulously lays down the basic setting, but does it in a way only a true artist does: enjoying the wickedness of his own imagination. He’s more precise than ever, he’s headstrong to tell the story exactly the way he wants to, and offers no apologies for those looking for a revival of what they remembered as a slightly weird teen comedy from the early 90’s.

In the first episode Lynch says it clearly: I’m Back. So, we better be prepared.


Return to Twin Peaks.

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You guys have no idea how much, how long and how eagerly I’ve awaited for the new Twin Peaks to arrive. In the last 25 years, I’ve seen the original Twin Peaks -run three to four times and watched my Twin Peaks: Fire Walk With Me -movie at least six-seven times. I’ve read Laura Palmer’s journal twice, I’ve spent countless hours discussing the inner logic of Twin Peaks with my like-minded friends. I’ve decided to become a filmmaker because David Lynch has shown me the light, although I’ve done my best not to try to imitate his work, only carry on his ethos of filmmaking.

I am the arm, and I look like this.

I’ve tattooed his face on my left arm, though I do hope I don’t have to chop the whole hand off like MIKE in Twin Peaks had had to. So, it’s reasonable to say I’m a Twin Peaks fan, definitely not the most hardcore one, but a fan nevertheless.

There’s few things to be said of the original series, before going to the 2017 Twin Peaks. I fell in love with the series like the rest of you back when it aired – I think it actually was the second airing in Finland when I really found it – but living in Finland, I had never seen the actual second season, the first 8 episodes I think, because the rest was never really aired in Finland until later, until I was much older and got a hold of it. Luckily so, it might’ve diluted my interest.


The first 8 episodes are pure magic. The following episodes are still dope, but around episode 14, the season goes sour. Lynch and Frost depart from the original show and the magic portal to the world of Lodges collapses. The episodes focus on making Twin Peaks to an outpatient care village rather than a real, believable, grieving community and the mystery elements are poorly handled. As Lynch returned for the last episodes, the show had the long-awaited shapening-up, but it was too late. Both the producers and the channel decided, rightly, to wrap the show in plastic and send it downstream right into our subconsciousness.

There, it stayed until finally beaching, 25 years later.

The Return. 

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During the following weeks, I’ll break down my thoughts of every episode, separately.


We lost, by the way, you know…

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Well, the one thing everyone will remember from the Oscars is that… Moment.

So, as expected, La La Land gets the best picture Oscar… almost. Then, things turn weird. There’s a bit of a commotion on the stage as the producers are giving the final thank you -speeches, red envelopes are flicked back and forth, then the reality hits everyone: those giving their acceptance speech actually were not the rightful winners. It was not La La Land, but Moonlight that had won. They had given the announcers Warren Beatty and Faye Dunaway the wrong envelope.

Suddenly, the whole stage is full of confused people holding Oscars, Warren Beatty giving a staggering explanation, host Jimmy Kimmel sort of hanging on the edge of things and the producers of La La Land taking charge of, and handling the extremely awkward situation with as much grace as possible, saving what’s left to be saved.

Americans sure know how to entertain.

But, really looking back at the Oscars, the award ceremony was actually a pretty damn good one. The true winners were the African-Americans, gays and the muslims. From Mahershala Ali‘s win as the first muslim to pick the prestigious golden statue for best Supporting Actor to Viola Davis‘ best Supporting Actress award, from White Helmets’ winning the best short documentary (the cinematographer not being allowed into the country) and absent Asghar Farhadi‘s win for best Foreign Picture with The Salesman, and finally Moonlight picking best script and -picture statues – the picks of the Academy were this time surprisingly heavy topics.

This means the Oscars are becoming a better representation of actually good movies. The fact that Moonlight, a film made with under two million USD on a topic that’s rarely even discussed about – gays in black community – won already speaks books about the search for the best film, not just the most enamouring one. Also, the diversity is becoming a norm, not just in theory but in actuality. The days of all-white winners, subjects and stories are in the past, and will be for quite some time.

Now, it’s time for the film community to stand up against what Trump is trying to make the new normal – the racism and the fear.

All in all, the ceremony was great fun, mainly thanks to Jimmy Kimmel’s extraordinarily cool handling of the whole show. While Justin Timberlake’s performance in the beginning was a bit dull, the Hollywood Tour Bus stunt was good fun. The speeches were nice – Viola Davis was strong and gripping, while Casey Affleck was relatively lame (in the fashion of the characters he likes to play). Trump and his politics had a full load of all kind of shit dumped on them, and while Kimmel and the winners were preaching to the choir, I’m sure the word got out: fuck you, Trump.

For me, the best moment was Kimmel’s note about Sweden, after La La Land’s cinematographer Linus Sandgren walked off stage with an Oscar. He said he was sorry to hear what was going on in Sweden just last week, hoping Sandgren’s family and friends are OK, in reference to Trump’s ridiculous statement “look at what’s going on in Sweden”. The bickering between Matt Damon and Jimmy Kimmel was also fun to watch, although I had no idea what it all was about and why.

Obviously, the biggest winner was La La Land, with 6 Oscars, but the real, true winner of the evening was Moonlight, of course because of the Best Picture Oscar, but also because of the cock-up. But the way La La Land’s producers handled the situation was really cool, so big props to them, too. And of course to Damien Chazelle, who, at 32, became the youngest ever Oscar-winning director.

Well, it surely wasn’t a dull show, and mostly great films won the awards – save Suicide Squad, which I think was a dumb film and a shit call from the Academy.

Here are my predictions and what I got right and wrong. Next year better, I guess!


The 2017 Oscar Winners Are…

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Well, La La Land – it goes without saying – is going to win everything. I honestly think, though, that the film sucks. It’s a film about white people and nothing in particular. It’s a soothing, numbing experience that takes us away from the world’s horrors for a moment and gives us a chance to dance into the galaxy like there’s nothing to worry about in the world. Like there wasn’t a war in Syria, a Nazi regime in America shaping up, immigrants drowning trying to get to Europe and inequality and racism becoming a norm again everywhere in the world. To top that, it’s also a musical. Some people love them, but not me.

But let’s, for  just a short, passing minute think that Oscar voters wouldn’t be so obsessed with the good old days of Hollywood, and would actually be interested in contemporary films that have the balls to discuss the current topics, have great, unforgettable performances in them, directed by daring directors who fear not go where directors haven’t gone before, written by writers who care about the world around them and dare to speak their mind, and films that look, sound and feel like nothing you’ve ever seen, felt or heard before.

I know, this is not what Oscars are for, but if it was, the list of winners would be quite different.

The best picture would probably go to Moonlight, a film that discusses homosexuality in black communities. Casey Affleck would grab the best male performance from his extremely precise work on Manchester By Sea, and Emma Stone‘s amazing audition scene in La La Land would stand above all when choosing the best female performance.

Supporting roles would go to Jeff Bridges at Hell or High Water – or even, if the Academy was really daring, to Michael Shannon from Nocturnal Animals – and Viola Davis for her fucking amazing work in Fences.


Barry Jenkins would grab the best director’s golden statue, and writing Oscars would go to Moonlight and Manchester By The Sea.

But, like I said, it won’t go down like this, unfortunately. La La Land will grab all the important ones it’s being nominated for, save maybe Ryan Gosling, who is merely a thin shadow of what Casey Affleck is a master in – you know, staring and doing nothing. Let’s not even get started with the craft Oscars, all going to La La for sure.

The actual competition this year will most likely be in Foreign Language film, to see whether The Academy fell in love with the German comedy Toni Erdmann more than with the Iranian drama The Salesman, and Documentary Feature, where they either go for the black history at 13th, or shed some tears to the poor souls of Fire At Sea, trying to escape the Middle-Eastern and African horrors to Europe.


Nevertheless, because Oscars are not about who should get it, but a game of trying to guess what The Academy prefers – here’s my gritty Oscar ballot, left here with a unsatisfied frown on my face. (Note 24.2.2017 – I’m still about to watch few of the contenders, so this might change, but I’ll update latest when the actual broadcast begins.)


Oh – and if you ask me, the best picture of 2017 was Manchester By The Sea, and the best actor and actress were Casey Affleck and Emma Stone.

Top 10 Films of 2016

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The year 2016 was a terrible year, one that won’t be easily forgotten. We lost so many important figures – from Lemmy to David Bowie, Prince to Leonard Cohen, Alan Rickman to Carrie Fisher and so many others. Not only that, but the people, events and movements that gained power and notoriety made it even worse: Trump, Brexit and multiple terrorist attacks across the globe. Personally, it was a devastation as well – my brother Ville sadly passed away suddenly in December.

All this put together, it’s not a surprise the year wasn’t great in film, either. I actually had trouble picking 10 films I thoroughly enjoyed, but here it is nevertheless. Note, I haven’t seen films like La La Land and Manchester By The Sea yet, so it might turn out a bit different in the end.



The story of two society’s outcasts teaming up together to fight the world has never been this bleak, sad or frustrating. Rarely do I stop to really think the challenges the modern world poses on those not signed up for the digital revolution, but Ken Loach rubs it in our faces so hard it’s hard to miss. Terrific performances from Dave Johns and Hayley Squires, both relatively unknown faces, brought the gritty world of UK bureaucratic wasteland alive.



Another us-versus-the-world film, but with much brighter and positive, Captain Fantastic brought Arago… I mean, Viggo Mortensen to herd a hippie family who just lost their mother. Basically, it’s a road trip movie to the funeral, to be arranged by a stiff upper-class family of the deceased. Lively, sparkling and fun, yet guaranteed to squeeze bucketful of tears, Captain Fantastic left me happily smiling.



The world has truly gone mad: Trump is the president of USA, UK is no more in EU and the Germans make the best comedy of the year. Disconnect with his daughter leads Winfried to a desperate offensive into her personal life and to the invention of a fake persona with fake teeth, Toni Erdmann. The extremely long film, Toni Erdmann takes advantage of the time available and spends it with the main characters and the crazy events that take place in the world, and carefully convinces us that it’s OK to like, even to laugh at a German comedy.


A supplementary film to the 2014 Oscar-winning documentary Citizenfour is a dramatised account on events that took place, peppered with fictitious characters and scenes, but Oliver Stone‘s tough directing and  Joseph Gordon-Levitt‘s eerily Snowden-like performance make up for them. A solid techno thriller about one of the most important people alive today.


Looking for an absolution of the Hollywood, Mel Gibson makes an American war hero movie, but finds a twist never seen before: about a man who never shoots a bullet. Based on true story of Desmond Doss who wanted badly to become a medic but refused to carry a weapon is a cruel, rough WWII portrayal the next film, but with a bit bigger heart and message to carry around.


Olli Mäki is a legend I never heard of before the movie got made, but fell in love with quickly as portrayal of his personality, brought alive by Jarkko Lahti, made its’ way in the big screen. The under-stated boxing film is an exact antonym of American boxing films like Rocky, but the twist is brilliant: a boxer who falls in love. Shot in black and white, the film has been appraised for its’ humane qualities.

7: 13TH

Selma director Ava DuVernay continues her work on the black history, this time digging into the big, gaping hole in the US legal system that is the prison system, a legalised form of slavery. While made in a very American style with all the bells and whistles clanking and tooting to keep the the attention of the kids, the film reminds us that while US is so concentrated on fighting the racism by condemning the “N”-word, it’s actually not doing anything to the very problem itself.



While Ghostbusters is definitely not worthy of its’ predecessor in 1984, it’s a really fun and quite original, but definitely not without flaws. It remains to be seen whether the film makes enough dough to deliver a sequel, it’s not really looking like that, but there is much gas in the ladies still left. What resonates the most in the film is that it’s being made with loads of love and fun, real trust in the end result. It’d be shame if they weren’t given another chance just because Internet trolls did what they do best, bash women, and marketing team failed to swing the hatred to their advantage.


Star Trek (2009) was a great start new start for the beloved Star Trek franchise, but stumbled with the second part Into Darkness. Picking up the pieces left by Abrams as he jumped the ship to the Star Wars world, director Justin Lin managed to pull off a completely decent Star Trek movie, not a masterpiece but not among the worst ones out there. The “every second Star Trek movie works” -rule still applies.


Happy to be able to bring in a two mentions of a Finnish movie this year, Bodom managed to surpass all the expectations by being just a very well made teen slasher film with a script that actually worked. Fresh faces on the screen (Nelly Hirst-Gee is going to be a star!) and fresh energy behind the camera, Bodom was a good, original and damn beautiful horrorish, mildly slashery piece of entertainment.




Ghostbusters (2016) Review

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The stars have always been aligned wrong to the new Ghostbusters movie. Replacing the beloved classic’s all-male cast with all-female sounded like an unestablished gimmick rather than a properly-balanced decision. The first trailer gained several tonnages of shit from the Internet, and while the second did a bit better, the damage was already done. It unearthed the holy wrath of the fanboys and -girls, misogynists and Internet trolls – and although even the original cast was supporting the film, the marketing team failed to turn the tide on the expectations: Ghostbusters never had a chance of success.


But honestly, the only thing the film fails in dramatically is in not being the film we all love to hate – because actually, it’s quite good.

When remakes are made they are usually quite soulless VFX extravaganzas that have lost both the originality and the heart in the process of trying to update them to the audience of 2010’s. I’m looking at you, Robocop and Total Recall. Ghostbusters dares to go further, trying to find the new soul to the film in where the soul usually relies: director and cast. Choosing Paul Feig, truly the Ivan Reitman of the new millennium, as the director and going all-female allows the update to really bravely go where remakes rarely get to go.

Having said that, the film is very, very, very American-audience oriented – and that’s one of its’ downfalls. The super-americanized comedy will lose in translation in any other languages, and dubbing will be nearly impossible task to reach the same level of banter and dialogue, which marks so much of today’s style of comedy anyway, which will mean it won’t have a lot of chances outside its’ core market. Having being banned in China, even the Eastern money won’t save the fact that Ghostbusters is a film made for Americans and all the business it’s going to make will have to happen mostly in America.

One of the topics raised also on the Internet discussions are that it’s counter-sexist – in this case, meaning sexism against men. That is acknowledgeable, yes, but the funny thing about sexism is that it’s a door that swings both ways, and it’s refreshing to see a film where men are dumb, or cute, or helpless and in need of a damsel to save them from distress.

The main strength of the Ghostbusters is the quintet, and it works really well: Melissa McCarthy is stellar and really carries the movie in her shoulders and when it stumbles she refuses to let it fall, while Kristen Wiig takes the main role of the most relatable character. Leslie Jones is plain crazy and quite fun, but much-praised Kate McKinnon‘s character Holtzmann doesn’t really do the trick for me. Maybe she’s trying to weird out too much and comes across mainly annoying, or maybe I’ve seen that role being played much better by other actors in the past… Nevertheless, the only man in the Ghostbusters group is the dumb blonde Chris Hemsworth, who is on the verge of exploding to a supernova of his own charisma, but Feig has toned and dumbed him down enough to make him not necessarily likeable, but a good social commentary if nothing else – this is how female characters are usually in movies of this kind, and now the tables have turned. The only thing really missing are relationships: there’s no believable love interests or relationships being born in the film, and even the McCarthy-McKinnon lesbian couple tingle has been toned down too much to really deliver.

Cameos are mostly redundant, but blissfully quick. There’ Ozzy and three original Ghostbusters (yes, Bill Murray is there, but he’s not really that good…) and Stay Puft Marshmallow Man and Slimer.

While Ghostbusters is definitely not worthy of its’ predecessor in 1984 (yes, it’s better than part 2, though), it’s a really fun and quite original, but definitely not without flaws. It remains to be seen whether the film makes enough dough to deliver a sequel, it’s not really looking like that, but there is much gas in the ladies still left. What resonates the most in the film is that it’s being made with loads of love and fun, real trust in the end result. It’d be shame if they weren’t given another chance just because Internet trolls did what they do best, bash women, and marketing team failed to swing the hatred to their advantage.