It remains very much a David Lynch film; and if it doesn’t aim to replicate the mood of the original — the stylistic cribs from 1950s big-screen romances and B-grade thrillers that animated the original series have been tamped down — it is more like that ‘Twin Peaks’ than like anything else on television. (Robert Lloyd / Los Angeles Times)
What Critics Are Saying About the New ‘Twin Peaks’ - A round-up of reviews (Judy Berman / New York Times)
What The Reviews Have To Say About Last Night's 'Twin Peaks' Premiere (Mathew Olson / Digg)
“Twin Peaks,” returning 27 years after its debut, is no longer brand-new under the sun. But in its familiarly inscrutable first two hours, shown Sunday night on Showtime, it still has the ability to turn your TV into that box — a quietly menacing portal through which something horrifying or wondrous might burst at any moment.
Welcome to Twin Peaks : The Return | The Return (Scott Wampler / Birth Movies Death)
The Box is a perfect Lynch invention. It's something we've never seen before in the PEAKS universe, and to look at it is to have a million questions about it. What're those floodlights meant to illuminate? All those switchboards and cables - what are they connected to? Does that portal in the back actually lead outside the building? Who's this guy watching it, and why is he (are they) filming it, seemingly for hours on end? Given the way Lynch normally conducts his narrative business, I recall thinking: that thing's probably not gonna do anything special for a while. When Lynch cut back to this location later in the episode and a romance seemed to be blossoming between Sam and a woman named Tracey, I figured that settled it. Hell, I thought, The Box might not even be important.
Ah, but then!
Lynch Unleashed (Laura Miller | Slate)
From the opening shots, the series has the stretched-out rhythm of a Lynch film: dialogue scenes full of long pauses and repetitions, techniques that at first feel stilted then inexorably reshape your sense of how a story can unfold on screen. If you squirm at an early scene that lavishes almost a full minute on a man unpacking shovels from a cardboard carton, by the time Lynch devotes three minutes to the same man methodically spray-painting the shovels gold, the pacing seems just right, even though you still have no idea what he’s up to. [...]
If this new Twin Peaks were the work of an unknown director or even just Lynch’s first foray into the medium, it would probably be dismissed as too weird and cryptic [...] But Lynch has a track record. He’s launched us on so many wild roller-coaster rides through the human psyche, and while the new incarnation of this series will surely attract criticism from those who think Lynch ventures too far off the beaten path, plenty of us have learned to climb aboard and trust him, no matter what bizarre turns the car takes or how seedy the scenery gets. This isn’t the fusion of art-house sensibility with mainstream entertainment that many viewers expect from Twin Peaks; it’s basically an 18-hour David Lynch film whose viewers have a big head start on the backstory. For those who can get comfortable with all the director’s imponderables, the series’ spell soon becomes immersive. This may not be the Twin Peaks we grew up with, exactly, the show that changed television forever by proving how far the medium could reach. Instead, it’s the Twin Peaks we’ve grown into, the one we’re finally ready for, wherever it plans to take us.
“The Stars Turn And A Time Presents Itself” (Russ Fischer | Birth. Movies. Death.)
More than anything else outside of the shared work of David Lynch and Mark Frost, trust is the root of what makes TWIN PEAKS work. The series represents David Lynch trusting his instincts, following wherever his ideas lead no matter how tenuous the pathway seems to be, like Dale Cooper chasing clues by throwing rocks at bottles. Lynch trusts us to figure out the story, if not his own artistic motives, which is refreshing and ultimately powerful. That forms a bond between artist and audience that cannot be fabricated or faked. It is an authentic and meaningful relationship that is unaffected by time and distance.
Should the new season of Twin Peaks even be called Twin Peaks? (Bryan Bishop Lizzie Plaugic and Tasha Robinson | The Verge)
The first four episodes [...] weren’t a nostalgic throwback to the quirky soap opera murder mystery that originally captivated audiences back in 1990. They were the opening arc for something different: a sprawling, sometimes obstinately paced story that evokes some familiar themes and ideas while nevertheless being its own unique piece of entertainment. And as expected, it left us with a ton of questions.