Twixt

It was fun watching a healthy (if hefty) Val Kilmer. His character displayed an attractive and calm way in most of the film. Fun to see Elle Fanning extravagantly made up and costumed. Bruce Dern was a hoot as the crazed town Sheriff and there were a couple of scenes that had some genuinely artistic cinematography.

However, one of the reviews informs us this story came to Coppola in a dream while he was in Turkey. He has a reputation for being a bit of a doper and this dream must have been enabled by an overdose.

The plot is an absolute mess and makes any sense in only about 3 or 4 scenes. I am not someone who requires all loose ends be neatly tied up, but this story goes nowhere.

I don't see any way to pay much attention and enjoy the film. Perhaps if you get bombed, don't think about the story and just enjoy the view, it could be worth your time.

The "Godfather" Trilogy, "The Conversation," "Apocalypse Now" – all films by Francis Ford Coppola that DON'T come to mind when watching Coppola's latest directing venture – "Twixt." This film recently screened at the San Francisco International Film Festival and I eagerly attended. Bottom line? If you're expecting anything close to the aforementioned films, you're going to be disappointed.

Coppola has said in interviews that he's only making "personal" films from now on - maybe too personal. While there are elements in this film that show the master has not lost his touch, this film borders on the incomprehensible. Is it a comedy? A horror film? A psychological drama? A fantasy? Your guess is as good as mine - and, apparently, the cast's, as three participants in the film in attendance said as much in the Q&A that followed the screening. Actors Bruce Miroglio, Anthony Fusco, and Don Novello all had the same reaction after screening the film (only their second opportunity.) First, it was nothing at all like the film they saw a few months ago and Coppola was obviously still tinkering with it. Second, it was a helluva lot funnier than they remembered it.

Confusion maybe the theme of the film, but should that confusion have extended to the cast and, ultimately, the audience? One of the things the audience was confused about was that it was a 3-D film. Everyone eagerly played with the glasses until an announcement was made that there were only two short sequences in 3-D, and that it would be clear when those times were. That still didn't stop people from flipping the glasses on and off in a futile attempt to add some dimension to the film.

Coppola's choice to use 3-D does say something, though. Consider his contemporary - Martin Scorsese. Scorsese embraced the technology, used it to great effect to enhance his storytelling in "Hugo," and foresees using the process for all of his future projects. (We'll see.) How does Coppola use it? As a gimmick. An effective gimmick, but a gimmick none the less. Scorsese used it to draw you into the world of "Hugo." Coppola's use actually, and purposely, takes you out of his. Interestingly, only one of the two sequences was filmed using a 3-D camera. The second was added in post-production.

It really wasn't necessary, as the look of the film is one of its assets. Visually entrancing, and wonderfully atmospheric, the film has a cinematic look unlike anything else Coppola has done - even "Dracula." As for the cast, Val Kilmer giver a lead performance that almost redeems him from the trainwreck that is "The Fourth Dimension." I could have done without his umpteenth Brando impersonation, though. Uniformly fine work from the supporting cast helps. It's always good to have Bruce Dern back on screen portraying one of his "slightly-off" characters.

The script is the film's Achilles Heel, if Coppola even had one. I don't need every element of a story to be spoon-fed to me, but give me something to chew on, please. "Twixt" leaves too many threads dangling from the seams that are obviously fraying in this film. The parts are all there, they're just waiting to be sewn together in a much better fashion. Its ending is abrupt and confusing. As Miroglio said when responding to an audience member's comment that he really didn't know what happened at the end, "Francis' response would probably be – 'GOOD!'" Maybe for him, but not for an audience. Coppola says he got the idea for the film from a dream of his. Coppola's turned his dream into an audience's nightmare. Does he even care?

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I'm so surprised by the low ratings. This is exactly what I look for in a surreal murder mystery. Now I'm going to have to go back and watch Twixt. All the actors are fantastic and timeless while invoking classic literature, such as Edgar Allan Poe's style.

Hopefully B'Twixt will open this classic to a wider audience, I'm sure there are a lot of people who would appreciate this film, and give it the recognition it deserves.

I love the dreamy flow of the story. I can't think of anything that resembles B'Twixt, it's funny and spooky. The camera work and editing makes it an ethereal journey from beginning to end.

Francis Ford Coppola (THE GODFATHER, APOCALYPSE NOW, THE CONVERSATION, BRAM STOKER'S DRACULA, etc.) is an inarguable master filmmaker. Since 2000 he's only made four films and I haven't seen any of them until now. Originally released as TWIXT, this version, B'TWIXT NOW AND SUNRISE, is a re-edited director's cut of the film that's shorter than the original. I never saw the original cut, so I can't compare, but I can say I enjoyed this oddball low-budget film. Val Kilmer plays a barely famous horror writer stopping by a small town for a book signing and then becomes intrigued by a local murder mystery involving a young girl and possibly vampires. Kilmer is good, as always, and Bruce Dern plays the colorful over-the-top sheriff (and wannabe horror novelist). There's also a great supporting cast that includes Elle Fanning as a ghost/vampire/murder victim, David Paymer as Kilmer's agent, and Joanne Whalley (Kilmer's real-life ex-wife) playing his ex-wife, which is delightfully meta and funny. The entire film feels like Coppola is doing a goof and just having fun. After watching the behind-the-scenes documentary by his granddaughter Gia Coppola, I feel even more convinced of that or maybe it's just that Coppola runs a very casual relaxed set. It doesn't feel as substantial or weighty as his other work, but Coppola is a master filmmaker and you can see it in his frame compositions, the way scenes cut together, and the dreamlike quality he brings to the film, even if the material seems rather light and inconsequential. Overall, I'm not sure I'd recommend this film to anyone outside of Coppola or Kilmer die-hards, but I count myself as one on both parts, so this film worked for me.

Val Kilmer stars as Hall Baltimore, a third string mystery/horror writer on his latest book tour staying in a small town where he gets involved in a murder mystery upon meeting the eccentric sheriff, Bobby LaGrange (Bruce Dern). He meets a quasi-goth girl named V (Elle Fanning) who reminds him of his pubescent daughter. There's also a camp of weirdo goth-kids across the lake and Edgar Allen Poe shows up now and then as a kind of spirit-guide (Ben Chaplin), but what's dream and what's reality? And who murdered the female in the morgue with a stake?

"B'Twixt Now and Sunrise" is Francis Ford Coppola's renamed reedit of his 2011 movie "Twixt," released in 2022. It's a mystery/dramedy with elements of horror, combining the look of Coppola's "Bram Stoker's Dracula" with the inscrutableness of his "Youth Without Youth," plus a welcome side of humor. It's a quirky mystery that leaves you scratching your head, but you find yourself enjoying the ride, a Gothic tale with beautifully haunting cinematography & atmosphere, highlighted by Poe, bell towers, ghosts and bats in the belfry. The enhanced moonlighting and otherworldly blueish gray tones are awesome.

It tackles the creative process as we observe the desperation of a writer scraping the bottom of the barrel, often under the influence of sundry intoxicants. Will he come up with a best seller? Will he solve the murder mystery? Will he come to terms with his specters and demons that arise from his guilt over what happened to his daughter? That element, by the way, brings to mind Francis' 23 years-old son, Gian-Carlo Coppola, who was tragically killed in a similar boating accident in May, 1986. The reckless driver was Griffin O'Neal (Ryan's son).

A lot of the movie is an internal dialogue with the author's own ghosts and literary influences. Charles Baudelaire (a notorious substance abuser) is referenced, with the aforementioned Poe intermittently appearing, but only when Baltimore is under the influence, or dreaming. Did the abuse and murder of the children happen as shown? Or did Poe and the vampire incarnation of Hall's own daughter serve as muses as he works his way through creating a story that might turn his career around? Coppola leaves it up to you to decide what is real and what is imagination, but the answers are there if you want 'em.

Francis got the story from a dream he had while staying in Istanbul. This sets-up the criticism that Coppola's dream is the audience's nightmare. While "Twixt" and this reedit are too ambiguous for their own good, it's obviously intentional and he wanted the viewer to leave with questions to ponder. Besides, does everything need to be spelled out?

As for comparing the two versions, this one's 8 minutes shorter and I think I liked it better (it's hard to say because I saw the former version 8 years earlier).

It was shot at Kelseyville and the Clear Lake area of Northern California.

GRADE: B+