Miasteczko Twin Peaks. Ogniu krocz za mną.

I would like to use the words of the contemporary intellectual Karlos Vemola "I didn't get it, but it was great", but alas. David Lynch got lost in himself this time, he didn't advance the series or his filmmaking anywhere, he was just kind of showing off in a rather clumsy way, just like his role as the agent here when he yells at David Bowie. So to use Libor Matuška's words "I didn't get it and it left me completely cold". PS: I wonder how many filmmakers would normally get away with this if their name was not Lynch. (10.02.2024)

It’s quite a shame that the film doesn’t follow on the plot of the series, but deals the events that preceded it. Basically, it doesn’t bring in anything new, other than the chance to know Laura, which is no small thing as it completes the world of Twin Peaks, but that it would expand it in a way… no. The series is great, the film is just average (and below average for Lynch). PS: If you’re thinking of watching the series, avoid the film! It would spoil it. (20.06.2009)

David Lynch and his beloved town in exactly the form that I love the most. He returns to the roots, telling us what was before the beginning, yet he doses me with doses of Agent Cooper and the only thing that holds him back from the highest rating is an excessive amount of scenes with the Dwarf and his gang. I inevitably remain mesmerized by the Dwarf, but I still have not reached a satisfying point. First and foremost, however, is the challenge of the tragic story of that most famous local anti-heroine, whose fate I finally get to know from the first person perspective and I can mourn her thwarted life even more, as it is not just collective sadness. (16.07.2017)

This is a terrible mess. There are so many moments here that could work on their own, but then suddenly, bam, and you're left confused because there are so many moments that only make sense if you're familiar with the series. I loved the characters in the series, who were beautifully portrayed here, even though they were oddballs. In the film, more oddballs appear, but you don't have a connection to them; they're just there to make things even more surreal than usual. Lynch managed to persuade most of the series' actors to return, but Donna, who appears in a considerable number of scenes, did not come back. It's also a shame that many scenes featuring the actors from the series were cut from the film. These were probably less significant scenes, but it's a shame they didn't make it into the initial version. At least fans might have felt a bit better about it. Still, as I said, there are moments here that are simply worth it. Especially the story of Laura Palmer is executed incredibly intensely, albeit very briefly. It's as if Lynch took the square root of Twin Peaks, multiplied the result by a random coefficient, added a touch of Industrial Symphony, and was already thinking about Mulholland Drive. If Lynch had focused solely on the last week of Laura Palmer's life and nothing else – the other elements, especially those involving the agents, are actually redundant – the result would have been incredibly intense, just like the conclusion of this film, i.e., Laura Palmer's death. (10.03.2014)