A visit to Twin Peaks

Extended until 21st November, The Owls Are Not What They Seem is a Twin Peaks fan experience in Central London that plays on the 25-year-old TV series' now iconic imagery and characters. It's interactive and immersive, with a terrific cast of characters and a range of food and drink inspired by the show.

On arrival, you're given an identity. I had come as my Twin Peaks alter-ego One-eyed Jack, and there I was told I was a "self-medicating divorcee" with a small task to carry out. Ushered into a diner, we were given what looked like a cup of coffee but what actually a coffee cocktail, followed by three courses of rather witty food - from another coffee-themed bowl of soup (with savoury dipping donuts) to a breakfast-style main course and of course cherry pie with a caraway twist at the end.

The inventive food is provided by Blanch & Shock, while the entire experience is created by Lemonade and Laughing Gas. Actors playing variations on the series' characters continually appear to improvise some riotously funny drama, leading us into other areas of the sprawling site, including a cocktail bar with some rather seedy rooms off to the side, and a road house with a live show (including a fire eater). Along the way I was arrested by a thug who had been deputised. And I had several hand-made cocktails courtesy of the sponsor Wild Turkey Bourbon.

While this installation isn't officially linked to Twin Peaks or David Lynch, it's packed with references that will send chills up fans' spines. I particularly enjoyed the long red-curtained corridor, in which I of course had to do a little dwarf dance of joy.

In the interests of full disclosure, I must confess that I was a huge fan of the show in 1990-1991. I first saw the pilot as a movie projected in a vast cinema at the Miami Film Festival, and was glued to the series as it unfolded. In the summer of 1991, I visited relatives in Seattle and took a drive to Snoqualmie, where the show was filmed, seeing that sinister waterfall first hand and having some damn fine pie and coffee at the real Double-R diner. I was also a card-carrying member of Operation Pine Weasel, writing letters and campaigning to save the show from cancellation. We were successful after the first season, but when the show became more obtuse in the second year, nothing we could do would save it.

And now David Lynch is reassembling the cast for a new season that is scheduled to be broadcast in 2017. To prepare for this evening, I binge watched 15 of the 30 shows that were made - and I had forgotten that the red curtained room scenes were set "25 years later", which is now. 

For details: THE OWLS ARE NOT WHAT THEY SEEM 

Critical Week: A cry for help

Jennifer Connelly gives a storming performance in Shelter, written and directed by her husband Paul Bettany and costarring the excellent Anthony Mackie. The film tries to say too much about homelessness, but the drama is involving and the themes important. I've tried to keep this week a bit slow screening-wise, but caught the British comedy A Christmas Star, a goofy romp in the vein of the Nativity! movies - in other words, almost charming enough to make up for its silliness. And The Hallow is an Irish horror about a family that finds sludgy demons living in the woods. It's enjoyably yucky, but not very scary.

But of course the big film of the week was Spectre, the 24th James Bond movie, which I thoroughly enjoyed because it combines the darkly personal elements of Skyfall with old-style 007 storytelling. And for sheer wonder, I have binge-watched the entire first series of David Lynch and Mark Frost's 25-year-old classic gonzo mystery Twin Peaks and am now diving into the second, which I know will remember was more troublingly surreal. I hadn't seen the show since it originally aired 1990-1992, when I participated in Operation Pine Weasel to save the show from cancellation! On Wednesday evening I'm attending the London diner/bar experience The Owls Are Not What They Seem - and I'll cover it here later this week.

I'm preparing for a break in November, so have a few films to catch up with over the next week, including awards-season contenders like Steven Spielberg's Bridge of Spies and Tom McCarthy's Spotlight, as well as the horror comedy Scouts Guide to the Apocalypse, the South African heist movie Momentum and the drag-queen doc Queen of Ireland.

Critical Week: Beardy men unite!

That's Vin Diesel in the photo above. Yes, really. He's going a rather decent Tom Hardy impression in the olde worlde scenes in his new franchise hopeful The Last Witch Hunter, which was screened to London press on Monday only a couple of days before it opens in cinemas. Whether that franchise materialises depends on the audience's appetite for a batty supernatural thriller that mixes Game of Thrones with Underworld. But it got a lot of laughs from the critics!

Most of the films I watched over the previous week were London Film Festival offerings. Some of these have release dates coming up, including Danny Boyle's exhilarating Steve Jobs starring Michael Fassbender and Kate Winslet; Jack Black in the manic comedy-horror romp Goosebumps; Cate Blanchett and Robert Redford in the true journalism drama Truth; the artful, surprisingly moving documentary The Fear of 13, about a man on death row; and Jafar Panahi's Taxi Tehran, his superbly mischievous third film as a banned filmmaker in Iran.

Tomorrow comes the first press screening of one of the year's most anticipated movies, Sam Mendes' Spectre, starring Daniel Craig as James Bond. I've also got the British comedy A Christmas Star in the diary, as well as Josh Duhamel in Lost in the Sun and the pre-apocalyptic Mexican buddy movie Velociraptor. I'm also planning to binge watch the entire old series of David Lynch and Mark Frost's Twin Peaks in preparation for a press trip to The Owls Are Not What They Seem, a themed cafe-club night in a secret London location. Watch this space for a full report!

Shadows on the Stage: Riffing on a classic

Encounter

dir-scr Phil Willmott

Above The Stag Theatre, Vauxhall • 14.Oct-15.Nov

A loose riff on David Lean's classic 1947 film Brief Encounter, writer-director Phil Willmott's play sets out to imagine the way the story might have unfolded if the movie's gay screenwriter Noel Coward had been able to write it about two men instead. So the whole thing is a bit gimmicky by definition, sometimes straining to make a witty reference or political comment. But it's an intriguing idea with lots of possibility.

It's also an involving story on its own, using present-day scenes to frame a late-1940s story about a doctor (Adam Lilley) and a station agent (Alexander Huetson) whose schedules converge every Thursday afternoon on the platform at Vauxhall (insert inside joke here), so they begin to hang out together, talking about their wives and children and trying not to acknowledge the illicit attraction they feel for each other. Until they do, flinging open a can of worms the original film never even peeks into.

This open acknowledgement of sexuality at a time when being gay was illegal adds a major kick to the story, even though addressing it head on begins to undermine the emotional power. Unlike Brief Encounter, which can leave a viewer in tears even on the 10th viewing, this play only musters a lump in the throat.

The four-person cast dive in with plenty of personality. Lilley has an offhanded, authentic intelligence and wit as Larry, a doctor with a respectable career and a family that seems happy to everyone but Larry and his stoic wife (Penelope Day, who doubles as the station's sassy newsagent). Opposite him, Huetson brings considerable masculine charm as the likeable railway employee Arthur, although he sometimes overplays his internal feelings. The chemistry between them zings from the moment they meet. The fourth cast member is Chris Hines, who plays both the disapproving priest and an alert police constable.

The nicely crafted set might be too complex for such a small space, representing a wide range of settings with more detail than was strictly necessary. But the black and white design is clever, and the lighting nicely augments the shifting moods. And if the musical underscore sometimes feels somewhat pushy, at least this theatre has finally found a show that incorporates the sound of trains rumbling overhead. And also one that's packed with themes that still echo around this particular corner of London. And the whole world for that matter.

LFF 12: Sail away

The 59th London Film Festival came to an end this evening with the gala screening of Steve Jobs. But before that, Athina Rachel Tsangari's Chevalier (above) walked off with the award for best film. Annoyingly that was one of the films on my need-to-see list that I didn't manage to see (it's impossible to see everything).

Once again, the LFF proved itself a rather harsh atmosphere for the press - unlike most festivals in the world, we have to pay dearly for our accreditation, and there are no parties, no freebies, just lots of great movies, usually showing five at a time so you have to choose carefully what you see. It's pretty exhausting, but the programme is an excellent compendium of the year's top festivals, so it's a great way to catch up. Here are the prize winners, my favourites, and a couple more highlights...

LFF AWARDS 2015:

Best Film: CLEVALIER
Doc (Grierson Award): SHERPA
First Feature (Sutherland Award): THE WITCH
BFI Fellowship: Cate Blanchett
BFI Ambassador: Tom Hiddleston

MY BEST OF THE FEST:

1. CAROL
2. ROOM
3. VICTORIA
4. TANGERINE
5. STEVE JOBS
6. TAXI TEHRAN
7. TRUMBO
8. OUR LITTLE SISTER
9. THE CLUB
10. A BIGGER SPLASH

Special mention: FROM AFAR. THE LOBSTER. THE ENDLESS RIVER. TRUMAN. QUEEN OF EARTH. SUFFRAGETTE. GRANDMA. THE FORBIDDEN ROOM. HE NAMED ME MALALA. YOUTH.

Steve Jobs
dir Danny Boyle; with Michael Fassbender, Kate Winslet 15/US ****.
Whether this film is an accurate portrait of the eponymous Apple founder is frankly irrelevant. This is a storming example of the power of cinema to tell a story with complexity and invention. Every element works together to carry the audience through the narrative using just three key scenes that would actually play well on-stage. But the way it's shot and edited adds layers of depth... MORE >

Goosebumps
dir Rob Letterman; with Jack Black, Dylan Minnette 15/US ***
Like Jumanji on steroids, this action-horror romp packs the screen with animated mayhem swirling around an established comedian and a cast of plucky kids. The breathless pace holds the attention, boosted by surprisingly sophisticated gags peppered all the way through. But while working overtime to keep the audience entertained, it undermines every serious point it pretends to make... MORE >

LFF 11: Surprise us

The surprise film at this year's London Film Festival was Anomalisa, and directors Duke Johnson and Charlie Kaufman, plus actor David Thewlis, were on hand to present their film to the audience. Alas, I wasn't able to attend this year, so I'll have to wait until the film is screened to the press prior to its UK release. Meanwhile, the parade on the red carpet is continuing with tonight's awards ceremony, at which Cate Blanchett will be presented the BFI Fellowship. The last day of the festival is tomorrow, and it will be all about Michael Fassbender. Here are a few more highlights...

Truth
dir James Vanderbilt; with Cate Blanchett, Robert Redford 15/US ****
Cate Blanchett's gives yet another storming performance in this smart, enlightening backstage drama about the 2004 scandal at CBS News, which ended the career of iconic newscaster Dan Rather. Like a populist blending of The Newsroom with Good Night and Good Luck, the film is talky and a bit too obvious in the points it makes, but it's also important...  MORE >

Ruben Guthrie
dir Brendan Cowell; with Patrick Brammall, Alex Dimitriades 15/Aus ****
It seems obvious that an Australian filmmaker would make a movie about alcoholism into a blackly hilarious comedy. What's surprising here is that the serious undercurrents are just as pungent, and that the film never slips into the usual simplistic approach to the topic. As a result, it's both entertaining and thought provoking.

Victoria
dir Sebastian Schipper; with Laia Costa, Frederick Lau 15/Ger ****.
German filmmaker Sebastian Schipper took a big risk shooting this epic romantic thriller in a single unbroken take, and the resulting film not only wows the audience with its technical audacity but also fully engages the emotions. This story of a young expat's two-hour odyssey is genuinely terrifying, darkly touching and thumping entertainment.

From A to B
dir Ali Mostafa; with Fadi Rifaai, Fahad Albutairi 14/UAE ****
This is a lively road movie with an unusually sharp script that combines character-based humour, introspective drama and a sharp sense of the political scene as three 25-year-olds drive from Abu Dhabi to Beirut, recreating a trip they were supposed to take five years earlier. It's also cleverly timely, connecting with political realities while keeping the audience laughing, then hitting us with an emotional whammy.

LFF 10: See the world

The gang from Youth lined up on the red carpet last night at the London Film Festival: Paul Dano, Harvey Keitel, Paloma Faith, Rachel Weisz, Michael Caine and director Paolo Sorrentino. I had a slightly slower day today - just two films and a night off at the theatre! Here are a few more highlights...

Dheepan
dir Jacques Audiard; with Jesuthasan Antonythasan, Kalieaswari Srinivasan 15/Fr ***
With a powerfully topical subject, this drama both grapples with big issues and gives in to some oddly slanted politics that seem to convey a rather lopsided message. It's strikingly well made, with a solid cast and a sometimes startling realism. But filmmaker Jacques Audiard seems to get caught up in both the violence and the unrealistic dreams of refugees.

Taxi Tehran 
dir Jafar Panahi; with Jafar Panahi, Hana, Omid 15/Irn *****
Banned Iranian filmmaker Jafar Panahi continues to make sharply clever films that manage to just fit within the rules of his sentence (this is his third). Once again cleverly exploring the nature of filmmaking itself, this film also offers a strikingly earthy, funny exploration of Iranian culture. And human nature.

Gold Coast 
dir Daniel Dencik; with Jakob Oftebro, Danica Curcic 15/Den **.
Beautiful landscapes and an artful, almost experimental approach make the most of this rather pointed drama about colonial Europeans in Africa. Packed with big ideas about how humans bend the laws of nature at their peril, the film is ambitious but also self-important and morally simplistic. And the way the story is told eliminates any opportunity for either narrative kick or emotional resonance.

Chemsex
dir William Fairman, Max Gogarty; with David Stuart, Matt Spike 15/UK ****
An unblinking exploration of one of London's more disturbing drug scenes, this documentary plays on both fascination and distaste for sexual activities that go against the flow. It sometimes feels sensationalised, veering perilously close to Reefer Madness territory, but the issue is real. And what it has to say about both addiction and sexuality is hugely important.

Screen Talk:
Todd Haynes

The filmmaker sat down with festival director Clare Stewart to talk about his work in front of an audience of 450 gripped cineastes. The conversation was extremely literate, as Haynes went into his thought processes, methods and experiences while making Superstar, Poison, Safe, Velvet Goldmine, Far From Heaven, I'm Not There, Mildred Pearce and Carol. He discussed running themes (illness, isolation, societal demands) and recurring actresses - he clearly adores both Julianne Moore and Cate Blanchett and offered intriguing insights into the different ways they work.