Take Three: Harry Dean Stanton

Craig here with this week's Take Three. Today: Harry Dean Stanton

Take One: One of the Lynch mob

Stanton has been on regular staff rotation for four David Lynch flicks. (Four-and-a-half, if you include TV oddity Hotel Room.) From 1990 to 2006 Stanton provided characteristic screen goodness for a quartet of Lynch's most enduring works. Chronologically he’s contributed to: Wild at Heart (1990), Twin Peaks: Fire Walk with Me (1992), The Straight Story (1999) and Inland Empire (2006). He was great as, respectively: disorderly PI Johnnie Farragut tailing lovers-on-the-lam Sailor & Lula; Carl Rodd, irritable and dishevelled proprietor of the Fat Trout trailer park; frowzy front porch frowner Lyle Straight, estranged brother to lawnmower man Alvin; and Freddie Howard, dilapidated Hollywood has-been, both on-set and off-guard.

“I’ve already gone places” HDS laments his lot in Fire Walk with Me

They are sad-sack characters, all. Apart from Wild at Heart – his most substantial role for Lynch – he has little more than one big scene in each film. But he makes his singular moments count. His Lynch mob doesn’t vary wildly, and they’re all vividly ragged extensions of the HDS persona. I could watch him yap like a hyena in bed, as he does in Wild at Heart, and be eternally happy; I could listen to his dog anecdote from Inland Empire ten times and still manage a smirk; I could watch, and watch again, his eyes well up with tears out of trance-like regret over either the arrival of an old crone (Fire Walk with Me) or the arrival of an estranged brother (The Straight Story) and be more and more moved each time. What is it with Stanton’s Lynch figments that swerve the fatty showmanship of so much character acting and zero in on the uncanny emotion of life in minute ways? Every auteur could do with five minutes of Stanton’s blue collar characterisation in every one their best films.

"Oh Marietta Honey." HDS laments his lot some more in Wild at Heart

Take Two: x2 from 1979

Stanton’s been making films consistently for the last 54 years; it’s rare one goes by in which he’s not adding fine support somewhere or other. (Apart from 2008, Stanton has made films every year since his uncredited debut in Hitchcock’s The Wrong Man in 1956.) The early ‘70s saw him hit his stride, and 1979 saw him find his very own career groove. The two, key films he made in ‘79 were: Alien and Wise Blood. (He also made The Rose that year, and very good he was in it too.)

That's not Jonesy the cat! HDS is about to experience some Alien intervention

His Brett in Ridley Scott’s Alien was perhaps one of his most fondly recalled roles.

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Hit Me With Your Best Shot. X-Men (2000)

Last week I told you about a new series "Hit Me With Your Best Shot" and as a preamble I suggested X-Men (2000) for today. I'd already paid visual homage here. I am happy to report that someone took me up on the challenge. Two someones. Against the Hype has an interesting post and I must say I'm surprised by the visual choices -- I didn't see Senator Kelly (Bruce Davison) coming -- though the Angels in America reference kinda spooked me because of Bruce's Oscar nomination and deathbed scene from Longtime Companion (1990). Anyway, I adore the final shot Colin chooses which he calls

Singer’s most auteurist shot in the whole movie, and it’s so weirdass and INLAND EMPIRE-like

Being INLAND EMPIRE-like is a good thing, yes. But you'll have to click over to see it. I'm not giving the game away.

Terence at Much Ado About Nothing also responded with a shot of everyone's favorite blue shape shifter. That's gonna hurt! Finally, Bad MoFo offers up this shot which I also think is cool. Love that that's basically the opening strike for an action sequence, sometimes simple is best.

If anyone else is playing the game, comment or e-mail me and I'll revise the post and link up. "Hit Me With Your Best Shot" will air on Wednesdays at 9:00 PM going forward. Up next: August 4th SHOWGIRLS (1995) August 11th ANGELS IN AMERICA (2003), August 18th BLACK NARCISSUS (1947). Get watching and join us for the visual sharing.

Marion Cotillard, Lynched... David Lynch'ed.

The latest commercial/film in Marion Cotillard's Dior deal is out. (How much are they paying her anyway?) It's a 16 minute whatsit from the inimitable David Lynch called "Lady Blue Shanghai"


Given that the film contains grainy dv shots, ominously loud ambient soundscores, a nervous girl walking down empty corridors, overlapping image bleed and red curtains, it's Lynchian with a capital L. But parodically so?

In some ways it plays like a distant cousin of INLAND EMPIRE, a lightweight cousin with a heftier clothing allowance. Cotillard has her talents -- I like the way she handles one of those absurdly obvious Lynch questions "who knows what's inside that bag?" -- but nobody will ever top Laura Dern for her facility at embodying Lynch's psychotic break story beats in all their humor, danger and weird sincerity. Give or take Laura Palmer.



For what it's worth the film is more beautiful to look at on the Lady Dior site. I have no idea who her co-star is here. It says "with Gong Tao" but a search brings up nothing by way of an actor or model with that name.

I love that modern corporations have taken to employing acclaimed auteurs for longform commercials (a nice way for them to make extra money while audiences ignore their filmographies to buy tickets to the latest CGI film) but I doubt anything will ever top The Hire (2000-2001, starring Clive Owen) in this particular realm of filmdom. Those were such gems.



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* Further reading on this Lynch project at /Film and The Financial Times

Directors of the Decade: David Lynch

Robert here, continuing my series of the directors that shaped the past 10 years (Enjoy the first two installments on Scorsese and Bahrani) . The most important directors of the past 10 years aren’t always the most prolific, though this series will require a director to have released at least 2 films. Not to mention some of those featured here may be love ‘em or hate ‘em choices. Something tells me, this weeks entry is one such man: David Lynch.

Number of Films: Two.
Modern Masterpieces: I’m going to go ahead and suggest that both Mulholland Dr. and Inland Empire qualify.
Total Disasters: Though you may feel that both Mulholland Drive and Inland Empire fall here.
Better than you remember: And if you do think that, may I suggest you place them here.
Awards: Nominated for a Best Director Oscar for Mulholland Drive. Won Best Director in Cannes for that same film.
Box Office: Mulholland Drive grosses over 7 mil, easily topping Inland Empire. That’s what lesbians get you.
Critical Consensus: Mulholland Drive receives high praise (some suggesting it’s his best). Inland Empire confuses the bejesus out of people, gets mostly good notices.
Favorite Actor: Justin Theroux stars in both films and the remaining principle cast of Mulholland Drive returns for Inland Empire to do the voices in a rabbit sitcom (taken from his short film Rabbits).


Let’s talk about:
Dreams. I’ve long believed that the “it’s all a dream” gimmick isn’t necessarily cinematic suicide as long as you stick to one important rule… if your story is “all a dream” please don’t tell the audience. Just leave it be. Films mired in dream-logic have an unfortunate tendency to break down and explain everything to the audience almost as if they don’t trust the viewer to accept a world not based in logic-logic (I’m looking at you Vanilla Sky). Such films give up standing as art, or even entertainment in favor of being a puzzle, a riddle, a trick, the main point of which is solving the shallow mystery. It does a great disservice to the story and to the viewer.

Are David Lynch’s movies dreams? We don’t know precisely because he avoids any artificial third act reveal. Lynch’s movies may be dreams and they may be puzzles, but it’s clear that he doesn’t see them that way. He’s not interested in presenting the audience with a trick. Odd as it may seem, he’s interested in presenting them with a truth.

Lynch... and Beatles

Even if Lynch’s movies aren’t dreams, it’s obvious that the man himself is a believer in the genuine honesty of dream-logic. Dream-logic is unhindered by restrictions of consistency or reality. And since restrictions and hindrances only get in the way of truth, dream logic can more quickly lead the way to honesty. Though Lynch's goal isn’t intellectual honesty (even though most people spend their time watching a Lynch straining their brains) as much as it is emotional honesty. David Lynch doesn’t want you to think. David Lynch wants you to feel. Unlike most directors, he seems to believe that the medium of film has more in common with music than literature. He’s relived himself of the burden of clear narrative (so necessary for literature) and instead focused on the type of moods that few things other than a piece of music can give. When watching a David Lynch film, ignore the frustrations perplexing you and simply sit back, allowing it to envelop your being... like a dream.

All of this is worth noting, since Lynch’s two films this decade are among the most abstract in his filmography and his current career trajectory points inevitably in the same direction. After riding high in the 80’s (except for Dune which I contend has a charm all its own) and owning the cult TV market in the early 90’s, Lynch was at something of a crossroads heading into our current decade. Coming off an uneven Lost Highway (which now feels mostly like a warm up for his films of the aughts) and an uncharacteristic (though brilliant, if I may say) The Straight Story, Lynch probably wasn’t hoping for a soundly rejected TV pilot. But after a little re-tooling, Mulholland Drive became a phenom (scoring a Globe nomination for Best Motion Picture Drama) that was labeled by more than a few critics as his “masterpiece.” His follow up, Inland Empire, pitched as the story of “a woman in trouble” seemed like it would be more of the same. But it was anything but. Inland Empire is most likely not to be the last film made by Lynch, but it brings his career beautifully full circle. His most experimental (and terrifying) since Eraserhead, Inland Empire is rooted deeply in the subconscious, low-budget, unlike-anything-you’ve-seen-before territory of his first film, except with the added bonus of everything he’s learned in the thirty years between.

Heading into the future, Lynch seems content to play the American eccentric in a way that’s self-aware without being disingenuous. And he’s continually adding to the definition of who he is, extending his identity beyond cinema to include: coffee proprietor, transcendental meditation advocate, annual event host (in Fairfield, Iowa naturally), internet meme star, singer/songwriter/collaborator, and, of course, weatherman.
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Losing It In Style

Adam of Club Silencio here going off the deep end. This week saw the release of Roman Polanski's Repulsion on glorious Criterion DVD and Blu-ray. As per usual we're given a beautiful print of the film with a scattering of insightful extras. And the film itself has lost none of its power; a razor-sharp story of a manicurist whose foundation is cracking alongside her confining London flat. The film has become such an essential horror film throughout the years that it becomes quite simple to see echoes of a pert and psychotic Catherine Deneuve in the many films that have adopted Repulsion's structure and style -- usually in an attempt to peruse the psyches of their damaged protagonists. It begs the questions: do male directors somehow break the misogynist critique by having these women undone by dastardly, dirty men? And do blondes really have more fun?

Repulsion (1965)
dir: Roman Polanski

The final eerie frame lingers on a photo of Carol (Catherine Deneuve) as a child staring ambiguously into space, or possibly in the direction of her father. Repulsion never makes explicit whether Carol was a victim of sexual abuse and yet we're constantly faced with Carol's... repulsion... toward men. Their voices, their touch, their smell -- Carol's infinitely more at ease with the beheaded rabbit that's decaying in her living room. Even her apartment building takes part in a full on assault on her physical body. If these walls could talk... they'd say something smutty and grab your breasts. Carol's mind becomes a crumbling facade; a soft-spoken and elegant blonde woman is destroyed by some abstract primal fear. The question "why" really doesn't matter to Polanski, but much of the film's unnerving pleasure comes in the speculation of what could turn this lost little girl into an adult woman losing it with a straight-razor.

Images (1972)

dir: Robert Altman

Altman's film knowingly owes Polanski a great dept as we fall into the dark recesses of Cathryn's (Susannah York) broken mind. A children's author and her dull, hobbyist husband venture to their fantastical country home where we experience Cathryn's triple assault by her lovers (both living and dead), and witness doppelgangers of Cathryn at varying stages of her life... possibly. Her madness accelerates, but much like Repulsion, we're never sure where nightmare and reality meet, or if we've been behind Cathryn's corrupted gaze all along.

The Stendhal Syndrome (1996)
dir: Dario Argento

Undercover at the Uffizi Gallery in Florence, inspector Anna Manni (Asia Argento) experiences the Stendhal Syndrome (a psychological fatigue caused by great works of art) and quite literally falls into the arms of the sadistic serial rapist she was trying to capture. Much like Repulsion, Argento places the narrative directly in sync with Anna's dissolving mental state. Unlike Carol however, Anna's initial response to her sexual revulsion at the hands of maniacal men has her adopting her very own masculine side in order to inflict harm on the men closest to her -- also she simplifies by just using a razor blade. Eventually Anna dons a blonde wig in an attempt to regain her femininity, but it becomes more evident that it's just a simpler disguise for her continual descent into madness.

Inland Empire (2006)
dir: David Lynch

Lynch's film unravels similarly with doppelgangers and ambiguously fractured mental states. Actress Nikki Grace's (Laura Dern) latest role has her transforming into a woman spurned by manipulative men, and transforming into another woman entirely. Susan Blue (Laura Dern), a prostitute worn by the streets and an abusive carny boyfriend, is confined to her dank apartment where we see her madness manifest in the form of strobe-lit screams and a theatre showing Nikki/Susan's life as it's happening -- to which Susan herself can only describe as a "mind f**k." Typical of Lynch, all of this is best left to the audience that is now left with their minds in comparable disarray.

All I can conclude is that this would make a wonderful movie marathon for anyone (man-hater or otherwise) holed up inside their apartment for questionable lengths of time. Ultimately these fine films are a reminder of the very fragile, unknowable state of the human mind. And a solid reminder to get out more.

Signatures: Laura Dern

Adam of Club Silencio here with another look at my favorite actresses and their distinguishing claims to fame.

I had a dream. In fact, it was the night I met you. In the dream there was our world, and the world was dark because there weren't any robins... and the robins represented love. And for the longest time there was just this darkness. And all of a sudden, thousands of robins were set free and they flew down and brought this blinding light of love! And it seemed like that love would be the only thing that would make any difference... And it did. So I guess it means there is trouble till the robins come.

Martin Luther King Jr. and Laura Dern; civil rights or robins of love. Both valid dreams from inspirational dreamers. Laura Dern is one of our most bright, inspiring and expressive actresses -- an angelic beauty with an edge. Expressive not only because she's lovingly referred to as "The Face" 'round these parts, but because she has the rare ability to capture the internal conflicts in some of cinema's most ambiguous dilemmas.

She's always drawn to characters in the midst of significant grey areas: the abortion argument, the peak of adolescent sexuality and nosedive of innocence, the perils of monogamy, and cloning prehistoric species on remote islands for tourism. Her characters always seem to hold the crux between right and wrong, naivete and danger, hope and tragedy. As good with smooth talk as she is a rambling rose, Laura's greatest gift is playing to both sides of the spectrum and finding a harmonious balance.


Sweetly asking, "When will the robins come?" or theorizing that "the whole world's wild at heart and weird and top," Laura's characters ground her films with an enchanting idealism that undercuts much of the darkness surrounding them. "It's a strange world," indeed. Take it from David Lynch, her frequent collaborator who uses this dual dynamic best. In describing some of her essential roles he says, "'If you wanted to buy a bottle of innocence as a shampoo, you'd buy Sandy in Blue Velvet.' Lula, I guess, is a bottle of passion-flavored bubble gum." Laura always walks this idyllic fine line with an elegance that often dips into dangerous territory as her films progress. Whether she's snapping bubble gum in Wild at Heart, or snapping her fingers to the tune of prostitution in Inland Empire, Laura's beauty and grace can easily transform in situations of devastating circumstance.

...Whether a movie part comes to me or I seek it out, there's always this journey to darkness through light, or vice versa; that element has been in almost everything I've done.

Laura often acts as the guiding light through her film's bleakest depths. Even as Ruth Stoops, a hopeless huffer and propaganda-piece in Citizen Ruth, she manages to highlight the moral divide while giving birth to the sixth or seventh child she can't support. With a character seemingly devoid of conscience or concern, Laura manages to shed light on the controversy and still give this woman a purpose as potent as paint fumes. So many of her films (We Don't Live Here Anymore, Rambling Rose, Smooth Talk) paint her as this glowing figure whose inner light dims, flickers and fades (and seizure strobes in the case of Inland Empire) as the films progress, but usually in the end Laura's light is back and burning brighter than ever.

It's a strange world, wild at heart and weird on top, but we can depend on Laura to light the way. As we hold out for the robins, let us bask in our ever blinding love for Laura Dern.

20:07 (A Woman in Trouble)

screenshots from the 20th minute and 7th second of a movie
I can't guarantee the same results at home (different players/timing) I use WinDVD

JEREMY IRONS [voiceover]: This script, this world we're going to plunge into—if we all play our role, do our best, if we work hard together... well, this could be the one. This is a star-maker if ever I saw one. You'll see. I think we have a chance to pull it off. What do you say?

I couldn't avoid it. I couldn't go with anything else. I worked for over an hour on a different banquet of 20:07 images for today, and I'll probably still share them tomorrow. But it is Halloween, and nothing in recent memory, or perhaps ever, has spooked me as badly in a movie theater as INLAND EMPIRE did. The first time I saw it, I screamed at least twice, somehow managed not to jump into Goatdog's lap, exited the theater into a back street at midnight, and cried on the bus on the way home. The second time I saw it, I screamed at least twice, the same two times. (If you've seen the movie, no points for guessing when.) The third time I saw it, I took 14 pages of notes, partly to start working on an essay about the movie, partly to insulate myself just a smidge against total psychosis.

Though the image isn't exactly definitive (though what image from this movie would be?), I love that 20:07 pinpoints this particular moment in the script: the moment where "Nikki Grace" commits herself completely to "Susan Blue," who may or may not be the same person as herself, and which therefore may or may not entail a terrorizing pledge of allegiance against her own well-being, even her own reality. Also the moment where the full ride of Laura Dern's performance really begins; and the moment where INLAND EMPIRE raises its own stakes as a "plunge" worth taking, as the "one" movie that Lynch fans have been begging him to make in the five long years since Mulholland Dr. Clearly we do have to "work hard together" with this movie if we're going to get anything out of it, but there's so, so, so much to be gotten. Trick or treat? Both, I think.

LAURA DERN: I'm tellin' you, it was a night like any other night.

If you rent or buy the DVD of INLAND EMPIRE, you gain access to 75 more minutes of extra footage, or what Lynch dubs "More Things That Happened." I haven't waded through all these expansions and effluvia yet; everything I read assures me that no "explanation" of INLAND EMPIRE arises from these sequences. I do love that, in another glorious and fortuitous surprise of this feature that Nathaniel dreamed up, the Nikki pinpointed at 20:07 of the bonus disc is the polar-opposite Nikki of the ambitious Hollywood glamor gal we find at 20:07 of the theatrical version. Oh, that Nikki—always somehow exposing at least two sides of herself at, quite literally, the same time. As she so mellifluously puts it, "That's the kind of shit I'm talking about."

As for "a night like any other night"? I don't think so, Nikki/Susan/Laura/David.

And as for you, here's wishing you a happy-scary night unlike any other night.

Best Actress... What a World

With the posting of the Best Actress and Best Cinematography nominees the first half of the FiLM BiTCH Awards (or: my imaginary Oscar ballot) are complete. Those two categories were the hardest to decide on and while my choice for a Best Actress shortlist probably reads like a statement (in its minus two consensus) ... it's really not. This is just an honest carefully considered (one might say "obsessed over") opinion in a year that had way too many riches --of the 2005 contestants only the winner would make the lineup this year and she'd be in last place. That's how strong this year is comparatively. At any rate the Oscar choices for Best Actress will be thrilling. It'll be the most celebration worthy lineup since 1987. Best in 20 years = not too shabby.

Re: Winslet. I know she has legions of fans. I'm one of them, a die hard. But before you descend with pitchforks and torches, remember this: if I ran the world she'd have already won two Oscars. So put down those torches. Wouldn't you rather live in that world?

Regarding my off-consensus choices. I couldn't part with either no matter how many times I rethought. One terrified me and the other bewitched me in ways I still can't completely figure but felt like I should acknowledge for her staying power in my heart.

P.S. I'll fill in the last few "scene" and "character" prizes for the 7th annual Film Bitch Awards in the next week with medalists in all categories to be announced on February 5th, 2007.

Final Oscar Predictions very soon.

Year in Review: Under Appreciated & Special Citations

Re: 5 underappreciated films & 2 special citations

(excerpt) #3 Curse of the Golden Flower
Fans of the action packed wuxia pictures Hero and House of Flying Daggers were inevitably going to be thrown by Zhang Yimou’s latest. It’s dressed up in the same genre clothing but one of these films is not like the others. Swords, flying weaponry, and gravity defying warriors do eventually make appearances in Curse of the Golden Flower but they’re a tertiary concern. If your action cravings subside in time, you’re likely to find this whole affair an elaborate and temperamental hoot. This time around Yimou is more interested in high stakes melodrama (incest, betrayals, murder) subtextual political messages (there’s a cynical black comedy about intractable power inside) and the imperial beauty of Gong Li (an endless supply of close-ups starring her face and cleavage await you). The only thing this filmmaker seems to love more than Gong Li is color...

READ THE REST
for more on Zhang Yimou's gonzo colorogy, my issue with INLAND EMPIRE, Bettie Page, a Frankenstein monster of a movie, and one genre that Nathaniel loves more than most and probably more than he should.


previously in the 'Year in Review'
"Our Leaders. Ourselves" the ruling class * They're Bringing Sexy Back the hottest star turns * The Overrated from Dreamgirls to Clint Eastwood * Best Trailers, Posters marketing efforts * Cinematic Shame -obnoxious actors and terrible films * Stocking Stuffers cool items from the movies * This Blog is so self indulgent!

Tags: movies, cinema2006, box office, The Painted Veil, Inland Empire, The Black Dahlia, frankensteinfilm, Gong Li, Bettie Page

"Hotter Than Georgia Asphalt"

You've probably read here and elsewhere that David Lynch has been sitting with a cow in public to promote Laura Dern as a Best Actress candidate for this year's Oscar race. Idiosyncratic or abstract FYC campaigns are a hoot but they'll never get Inland Empire anywhere near Oscar nominations...


That said, the Oscars aren't everything. Inland Empire is a tough sit at nearly three hours but for Lynch fans it definitely has its moments, and they often involve Laura Dern's facial distortions, which are at least as frightening as Catherine O'Hara's face pulling in For Your Consideration were hilarious.

For my money, Laura Dern's best Lynchian performance is still her incredible work as "Lulu" in Wild at Heart but her doubled and unravelling performance in Inland Empire begs the question: Why aren't more filmmakers lining up to work with her? Why aren't they posing with their own cows to win her heart?

Giant Rabbits, Sidewalk Cows, Transcendental Meditation, Oh My

It's David Lynch Day in NYC - his new film, Inland Empire, opened up here today. Then tomorrow, in Slovakia. Of course. By next week it'll be winding its way through the country like overgrown grass through a mysteriously severed ear.

I don't have much to say about Inland Empire at this juncture; I am, as with all things Lynch, a bit confounded and at a loss for words even before seeing the film, and will probably remain that way well after actually viewing it. I may try and go this weekend since the boyfriend's out of town and he had such a violently negative response to Mulholland Drive that I can't even bring up Lynch to him without hearing that again. He's not anti-Lynch - Blue Velvet is one of his favorite films - but he's of the mind-set that MD was proof that Lynch has nothing more to say and is simply copying his old ideas ad nauseum (emphasis on nausea) into oblivion. I... disagree, and loved MD, but I guess we have to have something to argue about to keep things interesting.

Anyway, the trailer for Inland Empire popped up online just a couple of days ago, and you can see it below. Reviews of the film, so far, are... long-winded and obtuse (cough Dargis cough), for the most part, as Ol' Man Lynch always, thankfully, seems to inspire.

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Coming Soon #9: "Inland Empire"

Coming Soon But Not Soon Enough
#9 Inland Empire (Canal + . No release date announced yet but 99% certainty of premiering at Cannes this year.)

We have a repetitive theme going on here with this breath-holding countdown and it's this: Directors we haven't heard from since 2000/2001. Is this a standard turnaround time for auteurs? I guess it is. (This means that Todd Haynes, P.T. Anderson, and more are coming up soon. yee-haw) Still, five years is too long for impatient little me. Inland Empire has a strange cloud hanging over it . And that's this: It comes on the heels of Mulholland Dr, certainly one of the most acclaimed films of the decade and maybe, eventually, an all-timer. Not that Lynch is sweating, mind. He has a way of seeming...well, if not really above it all perhaps to the side. A smiling observant unassuming man. And a weirdo genius, God bless.

Lynch's name on an upcoming project is enough to insure fever pitch in cineastes the world over. But aside from the inimitable auteur, I'm looking forward to seeing what Laura Dern will bring once thrown back into the Lynchian universe to which she so clearly belongs. I haven't been excited about Laura Dern in a good long while [you'll recall she was #80 in my fav actresses of this decade list]. She was best in show in the recent We Don't Live Here Anymore but, alas, that isn't saying much given the limpness of the entire romantic quadrangle in that film. The last time I was truly and unrecoverably into her was when she made Citizen Ruth with Alexander Payne in 1996. The reason for my love initially was time spent with Lynch. My favorite performance of hers is possibly in Wild at Heart. Her "Lulu" was 'hotter than Georgia asphalt.'

tags: David Lynch, Laura Dern, entertainment, movies, Inland Empire, film

previous "coming soons": Little Children, Margaret, The Assassination of Jesse James by the Coward Robert Ford, Zodiac, and Bug