The monstrosity rams its entire body down your throat, where its tentacles overtake your body while its crustacean-inspired head lodges inside your mouth.
David Lynch and Mark Frost’s indispensably surreal soap opera ripped apart television tradition as it riveted viewers with a ceaseless mix of dream-noir intrigue and persistent humor.
When people first started writing this stuff, they didn’t call it science fiction.
By the time The Age of Stupid‘s flashbacks are over and the viewer is stuck in a ravaged 2055, the urge to do something immediate is palpable and powerful.
The Iron Giant is beyond naivete or political correctness. It’s a hilarious, tear-jerking and sci-fantastic analysis.
But like Lynch’s Peaks before it, The Nobody‘s impressive science lies not in the mad experiments of the Invisible Man, or the Nobody, but in its subtle dissection of psychology and interpersonal relationships.
The movie took cyberfiction staples like those found in William Gibson’s Sprawl trilogy and mashed them together with anime, wire-fu, postmodernism, metaphysics, Alice’s Adventures in Wonderland, Jean Baudrillard’s Simulacra and Simulations, and a torrent of other texts and contexts.
The influential artist’s experiments have ranged from drone, psychedelia and trance rock to jazz, gospel and ragged blues, sometimes all at once.
“body horror was not my term. It was a term someone used to describe what I was doing, so it is not a category in my head that I use to make films.”
With their new album, the indie-rock impresarios of Pinback have crafted their most exquisite offering, a release equally packed with dark, foreboding lyrics and meticulous sonic structures.