The New Yorker calls Top of the Lake “funny, sexy, disorienting, and emotional”
Emily Nussbaum dove into Top of the Lake for this week’s New Yorker and loved what she found. “‘Top of the Lake’ is a trip worth taking–visually magnetic, but also funny, sexy, disorienting, and emotional.”
The complete review is behind the paywall, but we’ve got some of the best details for you. Peter Mullan gets some love for his hypnotizing turn as local kingpin Matt Mitcham. He “dominates every scene he is in”.
TV is a writer’s genre, and the miniseries seems perfectly suited for Oscar-winning filmmaker Jane Campion, who created, co-wrote and co-directed Top of the Lake. Of course, there are the inevitable Twin Peaks comparisons, but Nussbaum points out that Campion has made the genre, and subject matter, her own:
Like “Twin Peaks,” “Top of the Lake” is a portrait of small-town life full of secrets that everyone knows, where the idyllic isolation conceals the nastiest crimes. Yet there’s humor, too, and surreality; as in all of Campion’s films, ordinary bodies collide, with nudity that feels spontaneous and shaggily organic rather than contrived, as it is on so many cable shows.
“Top of the Lake,” which ends up revolving–like “Twin Peaks” before it–around sexual exploitation, suggest alternatives to television’s typical approach to the subject, which too foten relies on hot bruised corpses served as visual candy. Campion’s way of dramatizing crime is hypnotic and circular–we understand a few of the case’s facts before the detective figures them out, and so the audience’s “gotcha” impulse to solve the puzzle and be done with it is circumvented. “Top of the Lake needn’t be a template for TV production, but it’s an eye-opener, in both senses: a model fo the sort of series in which words and images carry equal weight.
To sum it up, “‘Top of the Lake’ delivers”.
via The New Yorker