This is Lynch at his most. He masters the strings of time and narration with the agilest mind, running into a mysterious maze, on a tension wire, in a surreal kaleidoscope of self-quotations. Colours and music are stunning, as usual. Great cast and performances. Are you missing something? It can happen, of course. Take it or leave it.
Not too far from some sort of frenzied remix of Lost highway, Mulholland dr. and a handful of Twin Peaks: it's all a big déjà vu, and that's the most disappointing thing. It starts off pretty well, but after a while I lost interest in all those same old Lynchian tropes. The ridiculously long duration didn't help. Ten years after Lost highway, this one feels more like a dead end.
I really don't know about this one. Most other Lynch films didn't make much sense either in terms of the story, but at least they gave me a clearer glimpse of their humanistic core (Mullholand Dr., Blue Velvet, Lost Highway). This seems more cryptic material on first viewing, making convolution a goal in itself. The film ends up on the wrong side of a fine line for me. Need to watch it again though.
I finally rewatched 'Inland Empire' after about seven years of loathing it. But those were my pre-Lynch days. Now that I'm the #1 Lynch Stan, I got quite a kick out of this, especially the temporal/spatial distortion & the multiple threads' bizarre intersections. Obviously Dern nailed it, and the film's atmosphere & terror are sublime. Still, three hours is...three hours. Not sure what I think of the ending yet.
Watching this uber-abstruse film gives one the feeling of crawling through a long dark narrow tunnel for three hours , but it ends on a joyous note, (I think)... Laura Dern deserved an award (Lynch famously planted himself outside the ceremony with a cow in her honor) so, what's it about? Purgation? (per "Rabbits (featured in part here) astral projection? the plasticity of identity? What do YOU think?
Not my favorite Lynch. But it scared the bejeezus out of me at least three times. That's almost Shining level horror excellence. This isn't what you would call a horror movie at all, but damned if it isn't more blood curdling than over ninety percent of so called horror movies.
Lynch outlynching himself with this brutally overlooked masterpiece that is most likely to be his final film. Despite it initially appearing to be shot with a cheap sony camera, it is honestly his most frightening yet unique cinematic work. The film is constantly alive and Laura Dern’s added insanity makes for an extraordinarily absurd viewing experience.
Despire some really great moments throughout, Inland Empire's weakness is it's just too long. On my first viewing, I thought it was an unfocused mindfuck of loosely related scenes and mentally checked out for the last hour. The second time, I started noticing the narrative snap together for me, but once again lost interest as there just wasn't enough reward to hold my attention for the entirety of its 3-hour runtime.
"I'll show you light now. It burns bright forever. No more blue tomorrows. You on high now, love." Lynch does Lynch. A decade later, "Inland Empire" remains the filmmaker's most impenetrable work in a career that hasn't exactly courted the mainstream - an ugly (both visually and tonally) journey down the rabbit hole of identity and fame, as a creeping Old World evil infects the streets of Hollywood Boulevard.
Don't go in expecting a rug and it won't be pulled from underneath you. What appears to be hard work is just a way of dreaming: non-linear & without neat resolution. Here Lynch has created a ruminative, spatialise fresco of time, portent, subsumption, multiple personalities, abstractions, etc. It suffers from the largess a cheaper medium affords but is nonetheless a fascinating dream epic with room to breathe.
It speaks to Lynch's remarkable powers as a director that this 180 minute obfuscation flies by. Dern's absolute commitment to the material is astonishing as it's all too easy to imagine the majority of actresses being buried beneath the weight of this grandly ludicrous experiment. Love it or loathe it, it's Lynch's magnum opus. As far as I'm concerned, this should remain his swan song. Unfiltered genius.
I had this pretty loud at the start and repeatedly shit myself. It was pretty excessive, so I turned it down, which was a damn good idea because I ended up in hot sweats at the gun scene. This wouldn't be as scary on film - there was a terror pulled out of the DV in this that I haven't seen in any other film. Relentlessly tense videoart horror with skincrawlingly nightmarish images that'll haunt even your nightmares.