Good quality Russian romantic fantasy about love between a dragon and a daughter of a king which is on par with Hollywood's products in the same genre. The film didn't turn out pretentious and worked on emotional level.
Loved Blue Velvet and Mulholland, was soso on Lost Highway but I should give it another look. Dune you will either love or hate no mid ground in it. Personally the story was much better told in the Scifi miniseries. Arguably the last decent thing they ever did.
Antichrist was about as polarizing a film as could be. You either appreciate it or look at those who do as if they need to be committed (why I stopped recommending it in a nutshell)
I don't know if I'm a big Inland Empire fan necessarily, but I do think it's one of Lynch's best films--certainly not that far behind Lost Highway and Eraserhead in my book. If you haven't seen Dune, I don't think it's worth going out of your way to see. It's a curiosity at best in my opinion, though certainly there are quite a few people out there who either praise it as being one of the best worst movies ever made, or who genuinely love it as a cult movie almost. I will say that to my memory it's quite an interesting looking film with a unique atmosphere, and one certainly cannot deny the scope of its imagination.
David Lynch has been such a big part of my life. Crazy to always think you remember his movies till you see them again, and because you have had new life experiences, view them a different way. Seeing Blue Velvet one time when I was 26 then seeing it at 53 years old makes it a different movie. There is a part in the begining where they just show the trees at night and just like the bugs in the grass, it is like this strange power of nature which Lynch can show in a short segment. Small organic littles that let you know stuff is going to go sideways and there is no human control over any of it.
There is a small town in Washington State (Snoqualmie Falls) where they filmed Twin Peaks. Visiting the place near the time frame the show was made was a Lynch experience in real life. You could see and feel why he made the show there. Just a lost Americana of old wood covered walls aged orange and recovered chairs. Wooded and quiet, and almost too quiet, with glass flat lakes with no wind. A dark middle class that was as real as it was tacky.
The great part was when Roger Ebert could not figure out Lost HWY. There is a plot but when reviewed Ebert was lost.. Lost HWY!
And then there is Mulholand Dr. which plot remains an unknown mystery to this day, the real lost HWY. Your going to get opinions but what is going on is still up for debate.
David Lynch has been such a big part of my life. Crazy to always think you remember his movies till you see them again, and because you have had new life experiences, view them a different way. Seeing Blue Velvet one time when I was 26 then seeing it at 53 years old makes it a different movie. There is a part in the begining where they just show the trees at night and just like the bugs in the grass, it is like this strange power of nature which Lynch can show in a short segment. Small organic littles that let you know stuff is going to go sideways and there is no human control over any of it.
There is a small town in Washington State (Snoqualmie Falls) where they filmed Twin Peaks. Visiting the place near the time frame the show was made was a Lynch experience in real life. You could see and feel why he made the show there. Just a lost Americana of old wood covered walls aged orange and recovered chairs. Wooded and quiet, and almost too quiet, with glass flat lakes with no wind. A dark middle class that was as real as it was tacky.
The great part was when Roger Ebert could not figure out Lost HWY. There is a plot but when reviewed Ebert was lost.. Lost HWY!
And then there is Mulholand Dr. which plot remains an unknown mystery to this day, the real lost HWY. Your going to get opinions but what is going on is still up for debate.
Lynch seemed to confound Ebert, though Ebert was spot-on when he compared Mulholland Dr to a dream. It's a rather trite and easy thing to say that a movie is dream-like, but it's actually true of MD, not just structurally but even in its lasting effects. It's one of those half-remembered-while-you-are-awake-but-nonetheless-recurring dreams that you find yourself slipping back into every once in a while. I'm quite certain that no other film mimics what a dream state and the lingering effects of trying to remember a dream upon awakening feels like to me half so well as Mulholland Dr does--almost to the point where its plot and characterizations, such as they are, are really beside the point. It's the feeling that Lynch captured that makes this film a masterpiece insofar as I'm concerned--and that it can impart it even on sober viewings speaks volumes about Lynch's powerful craft. It's a shame that he's not done substantial work in the director's chair since the mid 2000s.
Edit: Best way to 'watch' Mulholland Dr is to put it on at some ungodly hour in the morning when you're dead tired, then curl up under a blanket and try to stay awake and watch it. Bonus points if you fall asleep, but partially wake up every few minutes to catch a glimpse of what's going on. More bonus points if you put it on repeat and spend the whole night with it.
Lynch seemed to confound Ebert, though Ebert was spot-on when he compared Mulholland Dr to a dream. It's a rather trite and easy thing to say that a movie is dream-like, but it's actually true of MD, not just structurally but even in its lasting effects. It's one of those half-remembered-while-you-are-awake-but-nonetheless-recurring dreams that you find yourself slipping back into every once in a while. I'm quite certain that no other film mimics what a dream state and the lingering effects of trying to remember a dream upon awakening feels like to me half so well as Mulholland Dr does--almost to the point where its plot and characterizations, such as they are, are really beside the point. It's the feeling that Lynch captured that makes this film a masterpiece insofar as I'm concerned--and that it can impart it even on sober viewings speaks volumes about Lynch's powerful craft. It's a shame that he's not done substantial work in the director's chair since the mid 2000s.
Seeing Elephant Man under the influence of LSD in 1982 was a comedy. I have never laughed for the wrong and right reasons more. As I review his movies again next up is Wild At Heart then Wicked Game. I'm actally excited as I have not viewed them again from 98 on. Also I have no reason to ever see Elephant Man again, which is a good thing. I'm tempted to get Twin Peaks DVDs but am worried it will be just too slow?
We are left with the Lost HWY riddle of Robert Blake explaining at a party (to the main character) " I'm at your house right now". At his house there was the murder of his wife taking place. We wonder if Blake is the alternate ego, before the real psychotic break with reality takes place( with the main character) in the jail cell? Lost HWY was released in 1997 and Blake was accused of his real wife's murder which took place in 2001. Such mysteries are never really discussed but would continue the Lynchisms onward.
Lynch seemed to confound Ebert, though Ebert was spot-on when he compared Mulholland Dr to a dream. It's a rather trite and easy thing to say that a movie is dream-like, but it's actually true of MD, not just structurally but even in its lasting effects. It's one of those half-remembered-while-you-are-awake-but-nonetheless-recurring dreams that you find yourself slipping back into every once in a while. I'm quite certain that no other film mimics what a dream state and the lingering effects of trying to remember a dream upon awakening feels like to me half so well as Mulholland Dr does--almost to the point where its plot and characterizations, such as they are, are really beside the point. It's the feeling that Lynch captured that makes this film a masterpiece insofar as I'm concerned--and that it can impart it even on sober viewings speaks volumes about Lynch's powerful craft. It's a shame that he's not done substantial work in the director's chair since the mid 2000s.
Edit: Best way to 'watch' Mulholland Dr is to put it on at some ungodly hour in the morning when you're dead tired, then curl up under a blanket and try to stay awake and watch it. Bonus points if you fall asleep, but partially wake up every few minutes to catch a glimpse of what's going on. More bonus points if you put it on repeat and spend the whole night with it.
I think it's pretty safe to call Mulholland Dr a little bit of everything. Mystery? Check. Thriller? Check. Drama? Check. Romance? Check. Horror? Check. Comedy? Check. Noir? Check. I could go on and on. (Satire, perhaps?) That it does each genre justice in some small way is part of what's so great about it. To me, it primarily evokes the dream-state--I have no doubt that to others it's primarily a ghost story, or a psychological horror, or a black comedy, or that it evokes some other state of being, etc. And of course there's those people who have written pages upon pages upon pages of theory, trying to get every last detail to click into place and whir like clockwork. And that's totally fine too, even if I find it slightly beside the point.
I think it's pretty safe to call Mulholland Dr a little bit of everything. Mystery? Check. Thriller? Check. Drama? Check. Romance? Check. Horror? Check. Comedy? Check. Noir? Check. I could go on and on. (Satire, perhaps?) That it does each genre justice in some small way is part of what's so great about it. To me, it primarily evokes the dream-state--I have no doubt that to others it's primarily a ghost story, or a psychological horror, or a black comedy, or that it evokes some other state of being, etc. And of course there's those people who have written pages upon pages upon pages of theory, trying to get every last detail to click into place and whir like clockwork. And that's totally fine too, even if I find it slightly beside the point.
Yeah I agree with this; I've always considered Lynch a master of evoking a dream-like state on film. That was my first feeling after watching Inland Empire too: despite having some misgivings about it in other ways, as I mentioned before, I don't think I've ever seen a film that came closer to replicating the experience of being in a dream (or more accurately, a nightmare). It's the sheer fluidity of it: the way characters and faces and situations morph imperceptibly into something else... constantly shifting sands. I also agree that meaning isn't necessarily of primary importance with Lynch: there's a kind of dream logic at work which doesn't always require explanation (although Mullholland Dr in particular does lend itself to interpretation if you're so inclined, and probably everyone has their own ideas as to exactly what is going on). I'd say his films operate just as much on an emotional level as an intellectual one, making you feel things without necessarily knowing why. Beyond any consideration of plot, there's a palpable sense of dread throughout Lost Highway that very few other films can match. Powerful stuff indeed.
It is a shame that Lynch seems more interested in other projects at present, such as making music, but perhaps the experience of making Inland Empire took its toll on him to the point where he can't face putting himself through the process again any time soon. I read somewhere that it was an uphill struggle getting the film made at all, in terms of funding and distribution - just getting people to buy into his vision for it. You'd think a director with such an amazing track record would have it easy but it's probably a double-edged sword: the better known he becomes, the more any potential investors and collaborators are aware of how uncompromising he is - I guess it's a dilemma all true auteurs face at some point.
That reminds me, I've been meaning to pick up the Blu Ray box set. It was a slow-moving series, but at the same time, captivating - just like nothing else really, before or since.
That reminds me, I've been meaning to pick up the Blu Ray box set. It was a slow-moving series, but at the same time, captivating - just like nothing else really, before or since.
I watched season 1 last summer. You guys have motivated me to get on to season 2. It is a slow moving series but just captivating in its weirdness. I find Fargo the TV show is similar for me in being weirdly captivating, season 1 anyway as I have not seen any season 2 of Fargo yet.
Yeah I agree with this; I've always considered Lynch a master of evoking a dream-like state on film. That was my first feeling after watching Inland Empire too: despite having some misgivings about it in other ways, as I mentioned before, I don't think I've ever seen a film that came closer to replicating the experience of being in a dream (or more accurately, a nightmare). It's the sheer fluidity of it: the way characters and faces and situations morph imperceptibly into something else... constantly shifting sands. I also agree that meaning isn't necessarily of primary importance with Lynch: there's a kind of dream logic at work which doesn't always require explanation (although Mullholland Dr in particular does lend itself to interpretation if you're so inclined, and probably everyone has their own ideas as to exactly what is going on). I'd say his films operate just as much on an emotional level as an intellectual one, making you feel things without necessarily knowing why. Beyond any consideration of plot, there's a palpable sense of dread throughout Lost Highway that very few other films can match. Powerful stuff indeed.
It is a shame that Lynch seems more interested in other projects at present, such as making music, but perhaps the experience of making Inland Empire took its toll on him to the point where he can't face putting himself through the process again any time soon. I read somewhere that it was an uphill struggle getting the film made at all, in terms of funding and distribution - just getting people to buy into his vision for it. You'd think a director with such an amazing track record would have it easy but it's probably a double-edged sword: the better known he becomes, the more any potential investors and collaborators are aware of how uncompromising he is - I guess it's a dilemma all true auteurs face at some point.
He's hampered by not playing the hollywhore's game. "We'll finance your next pic if you direct this piece of dreck romcom with Will Ferrel and a singing squirrel for us". He's sort of the pinnacle of an independant film maker. The man who is the opposite of Soderbergh and the like who will do anything asked to get a studio job after their first film does well.
I would probably squeeze the money out of thin air to see Lynch direct a Philip K Dick adaptation. I think that is where he went wrong with Dune (and why the Smithee credit, and above mentioned loathing for studio created projects.) Dicks ability to create madness and have it leap off the page would have dovetailed perfectly with Lynchs ability to take something like vintage americana and the mundane and make it into a surrealism that would have given Picassso brain cramps.
Found this pretty dull and boring and wanted to walk out. The last 25% was the best.
Overall it's not a good movie and as a survival story it's a failure. Wish I had skipped this.
Visually it's pretty nice looking, but in this case that's not enough for me.
An un engaging film that is mystery / horror with no real surprises and pretty downbeat performances by all involved. Del Torro uses the look and feel of the Hellboy films complete with the red motifs all through and this kills him. Making a Hellboy film without Hellboy just leaves one wondering when the camp is going to kick in and turn this one around. It never happens so when the climax occurs you will most likely be dreaming of some other film you could have spent your money on.
Perfect fare for a rainy Sunday when it comes around on tv. As a big screen event is has little value though.
My wife and I don't watch too many animated movies - most are geared solely at kids. We decided to take a chance on this one and I'm glad we did. Certainly, if you have kids, they will enjoy it, but there's just enough subtle humor and ongoing gags to make it interesting for adults. The editing is crisp and the pace is quick - not much time to be distracted or get bored. If you're a baby boomer, you'll enjoy the music since the movie takes place in 1968. All in all, a good choice for some mindless entertainment that actually entertains.
Norwegian disaster film that is worth the watch alone just for the scenery of the fjords. Done with less cgi than it's American brethren it can be forgiven for some derivative storylines and lacking the gore ridden mass distraction North American audiences eat up like candy. A true to life premise involving real geological issues makes this one a refreshing change from Asteroids, Greenhouse issues ,. Noooclear deesassteeers et al.
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