Holly Hunter does some more hair acting (See 'Saving Grace'). Elisabeth Moss stops being annoying (See 'Mad Men'). Peter Mullan is powerful as usual (See 'My Name is Joe'). The script isn't great, but I thought it got much better towards the end. I really liked the characters and the setting and wanted it to come back for another season.
Hauntingly beautiful. Jane Campion, Gerard Lee and Garth Davis put together an amazing little story set in this tainted paradise called Laketop, in New Zealand. Elisabeth Moss is incredible and her role as Robin complemented by a nice supporting cast. It was so sad to see the similarities between Robin and Tui unfold throughout the 7 episodes. Glad this is coming back for another season.
the magestic cold landscapes, strange characters, the creepy gj, chemistry of human interaction, subtlety of telling the story - these are the things i loved. some plot points look a bit cheesy though. if campion's making a next season i hope for more weirdness and artistic visual touch. it's unusual and great to whatch a feminist minded tv series.
The only feature known to me with a character inspired by anti-guru UG Krishnamurti. GJ (Gurdjieff?) resembles UGs initialled name; like UG, she extolls the "intelligence" of the body; her enlightenment she termed a "calamity"; which hit her as if a bomb had gone off in every cell. She has no message, she has no aim, she even seems to have no memory. This is UG to a T.
Jane Campion is using perfectly the mini-series format to develop all the characters. The pitch is the one of a classic dark detective drama but the story goes far beyond. It's about the main character facing her own demons from the past and present and fighting against deeply rooted social behaviors. Brilliant.
A lovingly crafted homage to Scandinavian Noir and David Lynch, TOP OF THE LAKE is impressive and ridiculous all at the same time. When you're not curious about by the disgusting secrets of a sleepy town in New Zealand, you're probably laughing at Holly Hunter as GJ, a spiritual teacher in a bad wig who hams it up with such zingers: "Stop. Stop thinking" and "What are these crazy bitches doing?" Welcome to Paradise.
an inspired change of course in campion's fascinating and sometimes frustrating career. the BBC murder mystery template effectively showcases her fascination with sex and psychology, and the panoramic setting adds flavor without overpowering the stew. works as a whodunit and as a story about gender and family secrets. peggy olsen is as intelligent and endearing as ever, weird as may be to see her in modern clothing.
Over-baked, over-indulgent and overlong by a long shot. What could have been an interesting film at 3 hours instead runs near 6 and severely wears out what little welcome it had. Moss is tragically miscast here with most all the characters existing only as archetypes. The final hour is ludicrous to the point of near insult. On the plus side the photography is aces but not enough to compensate for the eternity wasted.
The strangest, most elliptical TV series since Twin Peaks? There are mountains, there are teenage girls disappearing, there's an out-of-town detective, there are strange town inhabitants, there's a mystical lake, there are drugs, there are mounted deer heads, there's coffee, there are people with long grey hair. Unfortunately, Top of the Lake is too short to achieve its full potential. It could've been fantastic.
Campion goes Scandinavian Noir. Emotionally stoic heroes + darkly taboo crimes are par for the course, but Campion elevates things somewhat by turning the endeavour into a wider riff on the endemic sicknesses of modern patriarchy, from machismo to rape culture to homosexual oppression and the necessities of counselling -- all of which intersect at a now-iconic tv setting: a hippy-feminist commune in a fallen Paradise
Set in a hauntingly beautiful rural New Zealand, this mini-series features a cast of bizarre, despicable, but ultimately interesting characters weaving stories of violence and mystery. Despite the mystery being thin (disguised as complex), it was photographed incredibly well and the performances were outstanding. That is, except for Moss' accent - please, never again, Australia. Just cast one of your own.
Rich with backstory and a subtle, creeping sense of dread. It's not openly surreal and the cute Lynch reference in episode six is mostly there as a wave to the inevitable Twin Peaks comparisons. What it does have is a clutch of fantastic performances to drive the otherwise loose, sprawling plot. Bit of a twist ending but it's typically terse and I did wish there was more; better than wishing there was less.