The Lynchean American Dream is weird shit happening at all times and Wile E. Coyote crying madly with drinks in her hands. It is over the top in every way imaginable and it still feels sincere and lovable. Cage, Dern and Dafoe are amazing and the twin peaks gang have a bunch of delightful cameos. What's not to love?
The older I get the less impressed I am with David Lynch. Watching his films were like a hammer to the chest (in my teens), but the relentless psychoanalytic trancendental dreamscape of his films, this one especially, strikes me as a little juvenile in my adulthood. An important period in a film lovers development, but one that should be grown out of. This film is...Lynchian. That's the review.
Rewatched this after many years & had a greater appreciation for it. There are still some off-putting juvenile things in the mix, but the power of the imagery & the swiftness of the intercut narrative are a force to be reckoned with. Diane Ladd is incredible. Harry Dean Stanton is at his most humane. A lot here prefigures a style Tarantino is usually credited with, not least the sense of true exhilarating danger.
Yeah so it's dumb trash but it's hella vivid dumb trash and what would seem uncharacteristically glib and post-modern for Lynch is redeemed by the absolute earnestness of Cage and Dern who are thrilling and sexy as hell together. It has the reddest of reds and the sweatiest of sweat and it really is wild at heart and weird on top. Willem Dafoe is vile and the music kicks ass. That car crash scene haunts me.
no sé si es así pero siento que en todo momento está siendo irónico el david lynch, pero le sale con mucha belleza: las muertes, el baile y que los personajes tuvieran mucho control sobre su entorno, ah y cuánto amor erótico, muy lindo todo eso. sailor es el mismo tipo de chico que julian de trailer park boys
Were you fooled by the Palme d'Or? The joke is on Lynch because it's meant to be ironic. The best worst moment was probably the scene in the bathroom. Diane Ladd calls Sailor a shit, and the camera points into the toilet in case you didn't understand her meaning. It fed into most of the actors need to ham it up relentlessly. They just injected 'The Wizard of OZ' references apropos of nothing. Embarrassment!
Chock full of Lynch's regular quirks, only, regularly boring... The symbolism is probably the least cryptic of any of his films and it's uneven throughout, flitting between a mass of plot threads and underscorings that lead to nowhere, only to end up with a truly cliché ending. But there's a few good moments and it's visually solid. Part coming-of-age road movie, part sleazy exploitation pastiche. Watch it for Dafoe.
A fucking awesome raging piece of road-moviemaking baby! With Elvis and the punks and trailer park metaphysics, the death bringing wicked witch smeared with lipstick and the horny Lula and the Sailor and the snake skin jacket that stands for his individuality. A mad strange world that rises from the dark and deep streams of Americana.
I always come back to the moments when innocence is ruptured — Lula unable to find any warmth on the radio, driving by a dying young woman on the side of the road, that awful Willem Dafoe scene. It all hurts a ton. You want to click your red slippers together and wake up in your childhood bed. You're unable to, unable to escape the chaos and violence. But you're somehow able to find love in a bleak grownup world.
(Generous) 7 - Exceptionally enjoyable, if somewhat meandering tonal pastiche made in Lynch's inimitable late style (animalistic acting, grainy and muted colours, small town America) that manages to feel different from the rest of his oeuvre thanks to its constant barrage of insanity. Its polarizing reputation is richly deserved, and I could see myself enjoying it more on a rewatch.