Zombies are the middle children of the otherworldly family. Vampires are the oldest brother who gets to have a room in the attic, all tripped out with a disco ball and shag carpet. Werewolves are the youngest, the babies, always getting pinched and told they're cute. With all that attention stolen away from the middle child zombie, no wonder she shuffles off grumbling, "Marsha, Marsha, Marsha."

- Kevin James Breaux

Sunday, May 11, 2014

Film Review: TWIXT (2011)

Between The Rainmaker (1997) and Youth Without Youth (2007) director Francis Ford Coppola has mostly stayed to producing films.  Since Youth Without Youth he has been directing a new film every two years including Tetro (2009) and Twixt (2011).  Each new film that he does is Coppola finding new ways to tell different types of stories that are not typical.  Twixt is Coppola’s way of trying to tell an old story in new way. 

Hall Baltimore (Val Kilmer) is an aging writer of supernatural novels who is on a book store.  He finds his way into a small town that’s a stop on his tour that also happens to be the location of a notorious murder.  Just as Baltimore is leaving town Sheriff Bobby LaGrange (Bruce Dern) comes up to him wanting to know if he would like to collaborate with him on a new novel that involves the town’s latest murder victim.  It seems that the body of an unknown girl has been found with a wooden stake in her chest.  Needing something new to write about Baltimore agrees to the collaboration but soon discovers that the only way to find the “real” story is to go into a deep dreamlike state where he meets odd characters of the town including a goth-like young girl by the name of V (Elle Fanning) and Edgar Allen Poe (Ben Chaplin) who will help him find his new novel that will put him back on the map.

Twixt is Coppola trying to channel his inner David Lynch by way of Twin Peaks but the film is not filled with any interesting characters nor does Kilmer’s Baltimore make for as interesting a main focus as Kyle MacLauchlan’s Special Agent Dale Cooper.  The overuse of CGI in the dream sequences leaves a lot to be desired.  This is a lesser film from the director whose glory days such as The Godfather (1972) and Apocalypse Now (1979) seem far in the distant past.

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