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Overall Rating

Worth A Look: 18.84%
Average: 8.51%
Pretty Bad: 6.38%
Total Crap: 9.42%

13 reviews, 251 user ratings

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Mulholland Drive
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by Greg Muskewitz

"Well worth the ride."
5 stars

Mulholland Drive was originally prepared as an open-ended television pilot that David Lynch wrote and directed for ABC, which was to premiere in ’99. But as time has told, ABC killed that idea (Lynch now vows never to go near TV again), temporarily leaving it dead in the water before Studio Canal + came along and snapped up the rights, thereby allowing Lynch to revisualize the project as a self-contained feature to stand on its own. As-of-yet, I have only seen the film once, a fact that will be adjusted very soon, but to retell the plot almost seems pointless. However, try I will…

One early synopsis released by Universal Focus calls it “A love story in the city of dreams.” That’s it. Yet it is so much more complicated than that. Elsewhere referenced as a cautionary tale for young, hopeful actresses, at the film’s start, we travel along with a limousine along Mulholland Dr. An attractive brunette (Laura Elena Harring) sits in the back and becomes alarmed when her drivers pull over and attempt to remove her from the vehicle. As that happens, two youth-filled cars speed by drag racing on both sides of the street, and one slams headfirst into the limo. After a rough night, the brunette sneaks her way into a posh apartment, apparently suffering from a head injury. Around the same time, a blonde, beautiful Canadian filled with naïveté, Betty (Naomi Watts) arrives in Los Angeles for the first time, deathly excited about pursuing acting.

The women unexpectedly meet in the apartment—Betty allowed to stay at her aunt’s, but quickly put at ease about the brunette’s intrusion through mistake. Her name is Rita, or so she adopts Ms. Hayworth’s first name from the poster of Gilda hanging on the wall; it becomes obvious, “Rita” is suffering from amnesia and even once Betty discovers the habitat-al faux pas, she has befriended the accident victim and promised to help. Of course, none of this is as straightforwardly laid out. As intermediary scenes, we are introduced to a film director named Adam (Justin Theroux), who attends a studio meeting in which several representatives are forcing him to cast a certain actress named Camilla Rhodes in a part that just opened up (originally set to be played by Rita, maybe?); the detectives at the scene of the car accident; a prefatory luncheon between to male buddies—one who recounts his nightmare only to suddenly and freakishly die out of fear when he imagines seeing a burnt-looking vagrant or “monster,” etc. It’s quite clear that at this point, we are witnessing the staggered introductions of those characters who would have, at least we assume, continued their reoccurrences and places within the show. Those are not the only prelusions, other spots are allotted, such as for Adam’s wife and her secret boyfriend (played by Billy Ray Cyrus), but in particular, the preambles of the cops and the burnt vagrant are only set into motion and never returned to, at least not until another glimpse at the end.

Earlier this year at the Cannes Film Festival, Lynch was co-awarded the director prize along with the directing-end of the Coen Brothers for The Man Who Wasn’t There, and since then both Lynch and Mulholland Drive have generated praise aplenty. As much as I am glad that Lynch and his film are getting notice and respect, I cannot help but feel that a lot of the yay-saying antics of the critics is the trendy following-of-the-leader/jumping on the bandwagon trendiness of what’s ‘in’ and what isn’t. For me, there were a lot of similarities that I picked up on between Highway and Drive; for starters, there is even an exact musical composition by Badalementi that plays very early on. The director character, Adam, is a lot like Bill Pullman’s Fred Madison, from the attitude, to the clothing, the hairdo and even the looks. It isn’t hard to believe that it could be a relative or even “Fred” when he was younger (and before he went to jazz saxophonist). Another character, nameless I think, who dines with the nightmare-scared friend also resembles Pullman/Fred, not just in looks, but again in attitude and in his speaking manner. Broken sentences and parts of words paused and uninflected. The cops who show up at the scene of the accident and their simpleton, matter-of-fact banter reflects that of Ed, Al, Lou, etc. (“There’s no such thing as a bad coincidence”), which follows a sort of strained humor. Dreams and dualities are a key to Mulholland Drive just as they were in Lost Highway, which is where the nitty gets gritty and things become indistinguishable and indefinable—except to Lynch who birthed the hallucination himself. Over time, I have found a panoply of answers, keys or hints that could be possible answers to Lost Highway, but nothing definitive or official. And I like not knowing. I don’t find that nearly as frustrating as do others. However, one big difference between the two—and there are plenty of others, I promise you that—is between their levels of complexity, confoundity and incoherence, Mulholland Drive is off of the deeper end. It’s stranger, more confusing, more perplexing, more frustrating I suppose (the whole “silencio” segment and act comes to mind). When Lost Highway came out in 1997, it was met with tepid reviews, unhappy that after Lynch’s six-year absence from features, that he returned to something even weirder. The same things that critics tore into and criticized Lynch for in that film, are being praised and hurrahed in his new work even though on all accounts, it is more now. There is a noticeable paucity of profanity and violence, though the images are no less grisly or disturbing, effective or assiduous. My concern, even though it is one that I don’t have to mount myself with, is how much of the praise and respect is written with good intention and honesty instead of artificiality.

Lost Highway is the superior film—not because it is my favorite—but because of differences ranging amid plot, pacing, originality, technical features such as cinematography, editing, musical score, etc. All of those tools are used with the best intent here, and nearly to the best of their extent, but more confounding than the film itself has been the critical reaction. Many of those behind-the-camera are all the same: Peter Deming as the DP, Mary Sweeney as the editor, Angelo Badalementi as the composer. Aside from some purposely blurred and foggy shots, Lynch (Deming as well) doesn’t try anything irresponsible or nettlesome with the camera. The most beautiful composition in the entire film, and maybe even among all of his films is what I call a “Picasso” shot: as the two women sleep in the same bed—one on her back, the other on her side—the two faces blend and conceal together to create an image that is extremely reminiscent of the way Pablo Picasso hid two faces/angles within one. (And with Lynch being a painter as well, the shot could easily be an hommage to the master.) Mulholland Drive is dark in appearance, but not overly brooding and thick in content. It always winds up surprising me how much humor, quirky or plain, that Lynch incorporates and injects his films with. There’s a cornucopia of amusement when it comes to the director’s frustrations in casting, the “cowboy” he must deal with, the what the fuck? confusion of the studio meeting (with Dan Hedaya and his partner who has an obsession for the perfect espresso); the director’s domestic problems; Betty’s over-optimistic and super-naïve arrival at LAX and her corny, pathetic dialogue; Ann Miller as an apartment manager/busybody with clothing and jewelry bydependences equally as busy; etc. The quirky laughs equably counter the creepy, mysterious and unsettling ambience, but is far from overpowering or undermining the textured elegance and mood of Lynch’s eccentric and droll trademark(s). The combinations of Lynch’s visually spooky yet attractive images along with the seemingly unforced and impenetrable atmosphere is concocted like no one else can dream of replicating. Mulholland Drive remarkably sees its way into the director’s venerable oeuvre, and all throughout its searing beauty and chilling mystery, despite the film’s beautiful flaws, it has an unshakable experience. Once the film has its claws dug into you, or has inveigled you via its seductive scent, there is no way for it to relinquish its grasp, and Lynch (understandably) wouldn’t have it any other way. If not by somewhat wringing out or carrying over the drugged hallucinations perfectly fabricated and designed in Lost Highway, Lynch again shows why he is the best filmmaker around, why he blows the competition away, and why once you’ve had it, you can never go back!

Mulholland Drive lasts a compelling and inconspicuous 146-minutes; nearly three-quarters of that ride are smooth and fluid. Even though questions register and pop up on a steady but demandless basis, the at-times episodic nature of the film is comfortably concatenated without cause for any resounding shoulder-shrugging. Only in that fourth-quarter, reaching and extending into a deluxe overtime, does the followability and logic shoot up red flags, causing the film to drag you behind (and at a distance) rather than carry and support you pari passu, as it had been up until that breaking and defining moment. I heard the plot referred to somewhere as a double helix, and that’s a perfect gradation. And wind and twist and turn and swivel it does, categorically fitting into the label of serpentine and labyrinthine. The utilization of amnesia to slowly but surely, and then not so surely, reveal facts and fictions is an excellent suspense machination. Lynch loves to bemuse his audience, sucking one so deeply in, only in the end to stonewall from any definitive answer or answers. That abstruse impression becomes undeniably addictive; the confusion gives way to the steadfast need and want for more knowledge—it becomes a feeding frenzy. Taking all this into consideration, one viewing is hardly going to allow me to digest all of the implications, suggestions, possibilities, theories, quirks, nuances, tricks, etc., that are so fragily and masterfully imbued in the film. As expected (and as I have pointed out) Lynch revisits—even more deeply—the act of dreams, the shifting and blending of identities, which, as it should, left me nonplus following that initial viewing. So few films can personify a dream in the way that Lynch paints them, for how less descriptively could you describe Mulholland Drive as, other than an investigation and observation of dream-state delusions and confusions? (Richard Linklater also examines related terrain in his festival-selected movie Waking Life, wholly different, but not nearly as successful.)

Lynch probably will not change the opinion of those who incorrectly label him as a misogynist. True, he is very demanding—physically and mentally—on his actresses, but often these women are the ones with the power to corrupt, swell, direct or manipulate (both positively and negatively) the direction everything moves in. There are usually two sides to their stories or two stories to separate them from, but attention will call itself to the sapphic themes in this. Lynch can tenderly and erotically film a lesbian sex scene, and he can use an incredible amount of restraint, while still making passion burn and singe. More demanding than the two sex scenes themselves (if you can actually call them scenes in the traditional sense) is a tough but stirring request for Watts to masturbate. The scene achieves a heightened sense of tension and discomfit, but not because of repulsion. In reduced terms, it reminds me of the controversial scene in Requiem for a Dream in which Jennifer Connelly (or her double) is lubed up and penetrated by a toy being shared with another woman; initial reaction was that of gratuity, but later I realized just how pertinent it was to the somber and grave feeling and climax it was designated to spawn. Ostensibly this is reaching for a similar function, but in far less graphic or disturbing ways.

Our three key players are virtually unknowns, but after this film, they should no longer be. During the press conference with David Lynch following the screening, he pointed out that since the projected had aimed to be for television, he needed performers with the ability to commit to the show for longevity. Now that they aren’t bound to any contractual limitations, I hope to see them casted in challenging roles such as what they faced in Mulholland Drive. (If you are wondering why the title sounds so familiar, it’s because of the 1996 movie Mulholland Falls with Nick Nolte, John Malkovich and Melanie Griffith.) I’m too hardpressed to determine which of the women’s roles were more tricky, more difficult, but would rather point out that both of them are endlessly convincing and live up to and beyond their demands. The thrill of their unknown-ness adds thrill, but it isn’t luck that they use to slide by with. There are far too many requirements and dares they face (always remaining sang-froid, even if they don’t want you to believe it) that they must jockey through—not around—which is enough to prove to me their skill. Watts may be given the wider threshold to enter and exit through, but she uses the space ever so efficaciously, and Harring hardly allows for the size difference to matter or be noticed. Theroux is an interesting performer, with his character even suggesting a bit of Lynch himself. He is a steady, thorough actor with a lot to offer, and yet with having given quite a lot here. Adam is an excellent character placed within a Lynchian hell, which may or may not exist or be relevant. Other roles are unfortunately throw-aways—set up, but never given ample time for establishment or development. That’s the case for Michael J. Anderson, Hedaya, Robert Forster, and any number of other cameos or brief intros, all of which are disappointing to have abandoned, but still serve to perpetuate and accentuate the questions and boggles of the mind even deeper.

At this point, I am not sure if I am ready to posit any solutions to Lynch’s enigma. From what I gather (but, like a dream, am not completely able to concentrate over or detail the whole experience), the confusion of identities from Rita to Betty to Diane to Camilla (et al.) is provoked in the dream-state, in which we start off in and follow until the revelations begin dropping, or making sense after the grogginess of sleep dissipates. There are two main women, both actresses, and both who have had a relationship together beyond being friends. Whatever evokes the dream/hallucination/nightmare, I don’t know, but identities are confused and combined. Later, when we see the “real” Camilla at a party, the “real” Diane (a/k/a former girlfriend?) jealously watches on as Camilla has now not only gotten together with the director, but seems to be occupied with another woman—whose face we know as the other Camilla. An explanation for that could possibly be that the first Camilla, the one in the dream, is a mental intrusion of who the woman represents in real life, as she is brought, or moreover forced into the blonde’s life, and welcomed (mysteriously, with other agendas maybe) into the brunette’s. Yet still, that hardly answers or contains answers to the even more provocative questions posed by the importance of the amnesia/dream/nightmare, the burnt vagrant, the rotting corpse, the studio honcho played by homunculus Michael J. Anderson, the “cowboy,” the old folks, the suicide, etc. I am fully prepared to leave these questions rapidly burning inside of me, alongside of those from Lost Highway, but not before this drive becomes a road well-traveled. It will take me several more viewings before I tire of theorizing the plenitude of possibilities.

With Lee Grant.

PostScript: Well, I’ve gone back to see Mulholland Drive a second time. (Surprised?) Having gone within close proximity of my first viewing, there was plenty that I had mulled over, which was still fresh enough in my mind to tend to in the second viewing. For one thing, it’s almost a more exciting experience, more ludic; given the 146-minute running-time that is in no rush to unreel, it gives the viewer more time to make use of David Lynch’s commodious cinematic space. By knowing the general time(s) of when and where something was going to happen, the repeat viewing allotted an experienced exhibition that a curator would have when walking through a museum exhibit alone after giving several tours. There was plenty of time to feel as if some of my inkling theories were stablely supported, while others were dead wrong. But with Lynch, it’s as if the harder you grasp for a definitive answer, the more permanently elusive it will be. Like in dreams, let it come to you. Among the things I picked up on during my first viewing that were just as prevalent the second time around was the Be-Boppy mid- to late-Fifties, very early Sixties feeling, punctuated in the opening swing dance (Jitter Bug maybe), the eerie, lucid simplicity of the characters (particularly Betty’s naïveté, even more persistent throughout this time), the casting of Adam’s film, etc. Then again, Lynch often uses that nostalgic bridge into the seemingly deceptivelessness veneer of that time period that he so effortlessly pulls away in Blue Velvet and Twin Peaks, or the equally as crystalline allusions in Wild at Heart or Lost Highway. Closure is nowhere in sight when it comes to The Cowboy, the grungy tatterdemalion, Louise, Irene and the old man, the black book sought out early on (causing much comical highjinx during the extemporaneous shooting spree), the key and blue cube, Rebecca del Rio’s lip-syncing scene, and so on. (That scene can be classified as classic Lynch; he said as for the reasoning for that scene’s inclusion was one day when a friend brought del Rio over to meet Lynch, she sang for him, which then prompted him to randomly splice in a utilization for her and her vocal talents.) Also on this go-round, there was more evidence of a murder plot and its swishy-swashy nature of the identities hot-potatoed around. The “Picasso” shot that I referenced in my original review is given further symbolism; for on that night of the wannabe Nancy Drews’ lovemaking, as they become one—hence the confluence of their features into one person with two outlets, and their subsequent split and departure from each other—is the suggestion to why everything from there has become rocky and topsy-turvy, and the turning point as to who is really who.

The problems come rolling in when everyone feels it is their duty to know everything and be explained as to all of what, when, where, why, who and how means. When I was at the New York Film Festival, when Lynch came for the press conference, journalists and critics were inquiring what percentage was dream and what was reality, or what the definition of this or that character was, and its ilk. As expected, Lynch was tight-lipped with his answers, as he should be! One of my favorite aspects of Lost Highway is that I will never know the specific answers for everything in that film, and to me, that’s what keeps the mystery alive. Lynch has always said that once you hold all the keys to a mystery, it ceases to be a mystery, and often enough, the solution doesn’t live up to your expectations and wild imagination. (How often would that Jimmy Stewart be right about his neighbor in a Rear Window-like situation?) Another thing: Lynch’s ambiguous endings are less pretentious and calculated that someone like M. Night Shyamalan who structures his whole movie around dropping an anvil of an ending on his audience at the end. Not every secret in a film needs to transmogrify into a tune-altering revelation, and Lynch resists the temptation to do the same. Let’s clear up one charge, though: Lynch might be known for being weird, idiosyncratic and eccentric, but the constant criticism (and sometimes praise) of his equivocal dénouements is not as much of a trademark. The querulous accusations that he leaves much of his work untold or unexplained is simply untrue. It might be a trend that he is presently in the pursuit of, but the dreamscape ambiguity is most predominant in Mulholland Drive and Lost Highway, with other minute similarities surging throughout Twin Peaks: Fire Walk With Me, and its antecedent TV series. With those, though, Lynch had less to do with the progression of the series, and in the film prequel, there was still less perplexity and puzzlement associated with it, at least for those familiar with the series itself. Lynch’s tendency was to answer mysteries by posing other mysteries in its place, or to use the origins as a springboard to launch further investigations elsewhere. Even early in his career, Lynch may have been preoccupied by dreams, but the foundation that the brunt of his work, and that he himself is all about chicanery, is baseless. Look at Eraserhead, The Elephant Man, Dune, Blue Velvet, Wild at Heart and The Straight Story. What is so strikingly confusing or unanswered there? They may be weird, quirky and unpredictable, but if anything, nebulousness is the aberration in his oeuvre.

Final Verdict: A.

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originally posted: 10/13/01 03:31:45
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User Comments

2/23/17 morris campbell a awesome mindbender 5 stars
2/21/17 Dave One of my favourite films, a surreal, ethereal satire of hollywood. Absolutely brilliant 5 stars
3/09/15 stanley welles a gorgeous movie, resplendent in its mysterious images 5 stars
1/15/12 francisco lopes A wonderful nightmare, with no logic, but high poetry all the time 5 stars
6/11/11 Jack Lantern The best movie of the millenium. 5 stars
12/09/10 David R It does have a storyline very sad and poignant about a tragic and distirbed personality 5 stars
12/07/10 Kyle Brilliant, mind-bending film from David Lynch... simply too intelligent for most. 5 stars
8/16/10 Jake An astounding journey. I was spellbound by this wonderful film. 5 stars
6/03/10 User Name Lynch's film is not about straight storylines and entertainment cues, but ideas and emotion 5 stars
5/27/10 Brady Travesty it only got 3 stars 5 stars
5/03/10 Jen One of the greatest movies ever made -- and the scariest. 5 stars
3/01/10 BooBots A mental jig-saw puzzle with no picture to complete. 1 stars
2/11/10 LOUISE CAHILL I felt as if I had been had. I felt cheated and misled. 1 stars
7/01/09 Mr Gone Favorite Film Of All Time 5 stars
4/05/09 GRAPELGANGER One of the best movies ever made! 5 stars
4/01/09 PrettyBre I did not understand it. Alone the scenes were fine, but together they didn't make sense. 3 stars
3/17/09 Peter The first part of Mullholland Dr. was shot as a trailer for an ABC show.They stoped funding 1 stars
11/17/08 DeezyPeezy I found myself gigging because it was so confusing I just need to watch it a few more times 4 stars
10/20/08 Monster A Go-Go Lynch's masterpiece! 5 stars
5/01/08 David S If you watch it 11 times and set your mind to it, you can make dark sense of the plot 5 stars
4/10/08 John The greatest movie ever made including the scariest scene in movie history. 5 stars
1/04/08 Bozofreak Anyone who didn't "get it" obviously wasn't paying attention. Greatest fucking movie ever. 5 stars
12/10/07 TigerSlap A pretentious roll of crap. Somebody ´lynch´ David for wasting our time... 2 stars
9/24/07 smrtpants =disney fantasia?(a piece of something-induced possible-poop from a could-be-complacent) 4 stars
9/24/07 Nicholas Maday It took me quite a while to understand what actually happened in this movie, but I liked it 4 stars
9/07/07 Jubei Haven't figured its secrets out.What i know is that this is art.Bergman level. 5 stars
6/16/07 mrsinister Really engaging, but a plot turn at the end left me cold 4 stars
6/10/07 Bob Awesome flick! 5 stars
4/01/07 matthew a profoundly unsettling exercise in psycological intuition. absolutely haunting, a must-see 5 stars
12/31/06 mr.mike my favorite lynch flick 5 stars
12/26/06 johnnyfog Only watched for lesbo scene. Utter crap, but early greatness from Naomi Watts 2 stars
12/08/06 MP Bartley Lynch doing what Lynch does - predictably baffling 3 stars
10/27/06 Isaac Baranoff Raw neo-noir that kicks. 5 stars
10/08/06 Bitchflaps Endlessly fascinating, reminded me of Luis Bunuel and Maya Deren. 4 stars
8/20/06 Vince I dig the acting, as for the plot... what plot? 2 stars
5/29/06 john review hit the mark 5 stars
5/17/06 Paddy I love Lynch, but this was far too convuluted for its own good even for me, a Lynch fan.... 3 stars
4/21/06 Becky Too advant garde for me... pretentious and made no sense. Random lesbianism? Please. 1 stars
3/18/06 Stacy I just kept saying, "What!?" 1 stars
2/23/06 jp david lynch, a true original 4 stars
11/16/05 Adrian As weird as movies can get, but the lesbians scenes are great. 4 stars
8/17/05 ES Lynch is a dud- if you like movies with a plot don't look to him 1 stars
7/12/05 Jake Very good...Even though it makes NO SENSE WHATSOVER! 4 stars
7/12/05 Tom Benton Dark, brillant, nightmarish, yet beautiful; David Lynch is a misunderstood master. 5 stars
6/21/05 R there are too many steves out there, thus, today's cinematic standards. 5 stars
6/13/05 Agent Sands Started the whole dream plot twist craze, almost as popular as the Fight Club schizo twist. 5 stars
5/31/05 Mike Derek Smith's reviews sums it up brilliantly. Lynch's best, even better than Blue Velvet.. 5 stars
4/20/05 captain craig An excellent example of what happens when Hollywood producters do tooooo much druge. A mess 1 stars
4/15/05 Veronika Boyd 3 words: Rebekah Del Rio 5 stars
3/18/05 indrid cold It's excellent David Lynch. Lost Highway + actual emotion = good stuff. 4 stars
3/17/05 steve the dyke scene rocked but i felt like 2 hours of my life had horribly died theyll be missed 1 stars
1/31/05 williamwar The movie is quite strange, but I enjoyed taking it in. Understand it, no. 4 stars
1/15/05 pym A very beautiful film. Lynch,s best work. I had to watch it three times to figure it all ou 5 stars
11/19/04 Tom de Wijs Great Lynch story 5 stars
11/18/04 Gerrit van Terwisga Strange, exiting and tensed till the end 5 stars
11/17/04 Nix Best. Movie. Ever. 5 stars
9/27/04 Gravityy Unrelated scenes strung together under the guise of a dream ( the viewer has to guess this) 2 stars
9/27/04 ALBERT A MASTERPIECE 5 stars
8/18/04 Gustavo Reynoso A hunting movie. The images stay with you 5 stars
8/17/04 Herolder Great actresses, but a dissapointing movie 3 stars
8/14/04 DM Some interesting moments, but it goes nowhere 2 stars
7/17/04 legend Not really my genre of film but I really liked it. Worth catching. 4 stars
7/14/04 Maureen Murtha This movie was one of the's amazingly original. Quite an achievement in cinema. 5 stars
7/10/04 sampa nice 3 stars
6/22/04 rosy totally surreal and amazing. a true screw with your mind 5 stars
6/13/04 R.W. Welch Sets up well, has a couple funny bits, then drifts into incoherence. 3 stars
6/11/04 pjmgq What a great film! It bends the brain. 5 stars
6/05/04 MyGreenBed Lynch doing a parody of himself (yawn), which is an oxymoron to begin with. Overrated. 2 stars
4/08/04 j-p Fantastic.One thing I gotta say:There IS a plot here,why have so many critics missed it? 5 stars
3/31/04 sansho Deeply sensuous, surreal, mysterious, macabre 5 stars
2/17/04 john intriguing and not quite as confusing as I was led to believe - fascinating 4 stars
1/20/04 Daniél Rocha A mind blowning surrealistic masterpiece 5 stars
1/12/04 monoclast god what an utter waste of time... 1 stars
1/12/04 LIAM JACKSON The Cowboy is someone you wouldn't want to meet in a dark alley! 5 stars
1/04/04 tim wood masterpiece 5 stars
10/21/03 Will Terrific. A real head scratcher. 5 stars
9/27/03 Mr. Hat 100%. Impossible for it to not be original in every way. 5 stars
9/09/03 Pia It was confusing, Watts gives me the shits. 4 stars
9/01/03 ThriceRise This is a goodmovie, it would be great if it had some substance to it, though. 3 stars
8/29/03 dtom beautiful and heartbreaking 5 stars
8/24/03 anusha rajaram very intriguing, surreal 5 stars
8/18/03 I Would The most baffling film ever. I need to watch it again to understand the last half hour. 4 stars
8/10/03 Dean Mansfield Poorly Edited.....lacked cohesion 1 stars
6/10/03 Paul Andrews What can I say? The reviewer has the got the point of the film right. 5 stars
6/03/03 Klarys elegant..... 5 stars
5/27/03 Jack Bourbon I'd bang all four of them. 5 stars
5/25/03 John40 incredible film that features the best performance of the year 5 stars
5/23/03 Mr. Hat (I'm Back, Mo'Fos!) Lots of plot tiers not taken care of, but funny, creepy, & hot lesbo fucking. 4 stars
4/19/03 Jack Sommersby Disjointed and joylessly 'vague'. Only Watts' superb perf is worth the effort. 3 stars
3/30/03 Christina Astounding, deep, and a visual masterpiece 5 stars
3/21/03 beth you might have to do some thinking but its definitely worth it 5 stars
2/03/03 Jon "Thumb the Toad" Lyrik Holy crap, this was an incredible film. 5 stars
1/16/03 J-bomb Absolutely great. 5 stars
1/14/03 richard a masterpiece of lynch and all thumbs up for watts 5 stars
1/13/03 Tricia Doesn't make sense 2 stars
1/10/03 Mitsaso The film is more intriguing if you haven't read a REVIEW before!!! 5 stars
1/04/03 Ted Grimm Moving 5 stars
12/29/02 Jack Sommersby Artsy Pretentiousness at its Finest 2 stars
12/19/02 .Choadushouse. Simply the most haunting film I've ever seen. Gives me goosebumps just thinking about it. 5 stars
12/11/02 jmyles There is a ton of symbolism. It is a must see for anyone serious about film. 5 stars
12/07/02 Johnny P O'ryan Doesn't tell a story......why watch it?? 1 stars
11/15/02 Chiendog Outstanding mystery/thriller; those who can't watch a film more than once should stay away. 5 stars
10/27/02 Mr. Hat Nice lesbo action, but "Vanilla Sky" made more sense! 2 stars
10/20/02 Paul It makes no sense 1 stars
9/26/02 Morally Sound Great film, but was totally lost with the ending. 5 stars
9/19/02 Uncle Salty How many times can David Lynch hand us the same "what is reality, what is a dream" garbage? 1 stars
9/02/02 SBD Not for those lazy people out there that just want to see things blown up 5 stars
9/02/02 The Bomb 69 can't figure it out but it was interesting 4 stars
9/01/02 Robbie Banfitch great visuals, great characters, its fun trying to figure out the plot 5 stars
8/31/02 Monster W. Kung Some flaws, but interesting. Naomi Watts was excellent. 4 stars
8/04/02 Edward Perry Great entertainment.. Intra-personal interpreation 5 stars
7/15/02 Sean Patrick Fucking Awsome sums it up 5 stars
7/14/02 sdjfsdkjf Liked it. Bizzare but intriguing. The ending threw me but then I found an analysis for it. 4 stars
7/07/02 Kevin Grimm I must not be enlightened. Because I'm not going to lick Lynchs balls for making this crap! 1 stars
6/27/02 Chuck weird 4 stars
6/26/02 Conman Great style but can Lynch make a movie without screwing everything up at the end? 4 stars
6/15/02 Milan Stefe cant wait to see it again. and again... 5 stars
5/30/02 Elbow It was a "Connect the dots" game with no picture at the end, it was also rather tasteless. 2 stars
5/22/02 officer 412/l in the words of arnie. It's the best mind fuck yet 5 stars
5/20/02 F@rty Bl@st Smells like poo! 1 stars
5/19/02 timbuk2 looks to me like it has been cobbled together from an unwanted "Twin Peaks" type TV series 4 stars
5/16/02 Greta BAD BAD BAD! a poor excuse for a lesbian scence. just rent a porno 1 stars
5/10/02 Butterbean All this shit just to see how "Diana" wished her life was like. I was robbed 2 stars
4/30/02 Phoenix Moronic and incoherent garbage. What the fuck was it about. 1 stars
4/28/02 Kirk I just saw Mullholland last night. First experience with Lynch ever. I admit that I'm only 1 stars
4/28/02 turtle This movie really makes you think. Requires at least 2 viewings!! Great film! 5 stars
4/27/02 Edfink Lombardo A spectacular cinematic achievement...A true mind fuck in every sense; Lynch's best! 5 stars
4/25/02 Bobbie Murphy Fascinating! 5 stars
4/25/02 MrT I pity the fool that lies to themselves about this awful waste of time 1 stars
4/25/02 Colin Camilla I don't think those were her grandparents 5 stars
4/23/02 WoWBoBWoW a blender lots of sticky tape and too much sweet coffee? 4 stars
4/20/02 Film Afficianado Existential garbage. For everyone who says the movie is genius, ask them to explain it. 1 stars
4/18/02 axis go watch 'crossroads',u *,it has a PLOT!andLOGIC!why do u even bother taking a shot at this 5 stars
4/16/02 Scott Bryant Weird for weirdness sake? Lynch made an intoxicating world in B.Velvet and it had a plot 2 stars
4/15/02 Larry Horstman This is definitely not for the beer & chips crowd. This is Lynch at his best! 5 stars
4/15/02 Shawna Best Movie since Lost Highway!!! 5 stars
4/15/02 Sharon Kirk David Lynch is a genius. Naomi Watts mega talented. Loved it. 5 stars
4/14/02 Pete The rosy dream scenes were good, otherwise it blew. 2 stars
4/14/02 Lynn Masssey I thought it was intriguing...very suspenseful,but lacked logic reasoning 3 stars
4/14/02 mahone Lynch brings us more discontinous mush. Hire a screen writer, for God's sake! 1 stars
4/11/02 Spyguy2 Lynch can make a carpet look organic and alive...M.H. 's like a Dan Clowes comic..Unique 5 stars
4/10/02 Tony Accurso ...dreams wide awake...David Lynch captured all the elements of a dream flawlessly. 5 stars
4/09/02 Christian Nyegaard Uhm. Weirdness at its best. It's just that. Weird. But good. But very very very weird. 4 stars
4/05/02 Mariliyn Didn't get it at all. I watched it twice. I have no idea what it's about. 1 stars
3/29/02 farzad haerizadeh one of the best films 4 stars
3/29/02 Chris Quan It's deeeppppppp 5 stars
3/28/02 Joe Stevens You ain't got enough stars... 5 stars
3/25/02 Iztok Heric Awesome!!! Haven't seen so many good movies like this one. (hint: watch it multiple times!) 5 stars
3/12/02 Lauren Maclise I LOOOOVE this movie! 5 stars
3/11/02 Louie G. See this movie! it's a kind of movie that would be a terrible thing to waste!!! 5 stars
3/07/02 Reini Urban Perfectly logic, but more. 4 times seen so far. 5 stars
2/26/02 David A. Top-notch mystery about amnesia and psychoanalytic fugue-there IS a plot! Watch ALL of it!! 5 stars
2/23/02 adam dal pozzo Lynch weaves multifaceted infliction of horrors felt amnesia sufferers. NO-SPOONFEEDING 4 stars
2/12/02 beeniz Meh. Trying too hard. 2 stars
2/01/02 E-Funk One of Lynch's best. This film is's hard to describe the experience. Lynch=KEWL 5 stars
1/31/02 ^Elendil^ I'll see it a 2nd time, or does the emperor have no clothes? 4 stars
1/26/02 Matthew Peters A great step from "Highway." Lynch leaves you with a lot to work out for yourself. 5 stars
1/25/02 matthew smith a hypnotic experience that you stay with you for many days 5 stars
1/25/02 Slitchard Richmond Wonderfully myserious on first viewing. Dazzling and inspiring upon subsequent viewings. 5 stars
1/23/02 mattski see it twice and then it will all become so much clearer. a film that asks you to think. 5 stars
1/23/02 tobias take a look on it 5 stars
1/14/02 Leysen Creepy !!!!! 5 stars
1/13/02 Forsythia66 A magnified look at how the subconcious deals with unrequited obsessive love 5 stars
1/01/02 Linda D boring 2 stars
12/18/01 grunter Mr. Lynch, your record is skipping. Hollywood is bad, mm'kay? We get it. New subject pleez 2 stars
12/16/01 Bucky Condescending Lynch horseshit 1 stars
12/12/01 slappy jacks like nancy drew on mushrooms certainly some of lynches best work ever 5 stars
12/05/01 Laurent de Soras I was really impressed by this movie, interleaving dreams and realities into a brain-puzzle 5 stars
12/03/01 underworld confusing but fuckin great anyway 5 stars
12/03/01 Caiphn My second Lynch film. I didn't understand this one either. 4 stars
12/02/01 jawsboy24 even though it didn't give an explanation, it still kicked ass, weird ass. 4 stars
11/28/01 cory incredible movie 5 stars
11/27/01 Frenchy Fuckin' confusing no need to watch it, it's useless 1 stars
11/26/01 Terry I didn't like it because it was too episodic without any concieved closure at the end. 1 stars
11/25/01 Rodney Who taught Mark to hold a gun as if it were a pet bunny? 4 stars
11/24/01 Kabby Gotta go with BAM...weird, but actually makes sense after a while. 5 stars
11/19/01 James This movie was one of the best movies I have ever seen 5 stars
11/19/01 Billy Two-feathers So vastly superior to almost all other films showing, no comparison! 5 stars
11/18/01 BAM Thought provoking and weirdly logical 5 stars
11/17/01 Mike Sullens Spellbinding puzzler. Still thinking about it a week later. 5 stars
11/16/01 sez terrifically confusing, but funky and beautiful 4 stars
11/15/01 JD One of the best films I've seen in a long time, I'm still putting the pieces together. 5 stars
11/15/01 P.T. Magee A gripping cinematic experience. I love movies that make me wonder what really happened. 5 stars
11/13/01 Bri ok, babes going at it rule. 4 stars
11/13/01 Alice James great flick 5 stars
11/12/01 b burns Surreal and twisted 4 stars
11/12/01 Jackie Despite the confusion, it was one of the most beautifully made films I've seen 5 stars
11/12/01 Matlock Kicked ass, best lynch film ever 5 stars
11/12/01 t d We're all in a nightmare (we call it reality) from which we are never waking up. 5 stars
11/11/01 Odd Girl Weird but interesting & the lead chicks are CUTE! 4 stars
11/09/01 marC F. it's simple, if you like lynch films you will like M.D. that's all there is to it. duh! 4 stars
11/09/01 Pickle Masterpiece- Not for stupid people 5 stars
11/07/01 Charlotte L. Frye David Lynch is more feminist than most feminists. Jung himself would be pleased! 5 stars
11/07/01 Spencer Hill Free your mind, the rest will follow. 4 stars
11/06/01 Mental Case WARNING: This movie might send you straight to the looney bin. 5 stars
11/06/01 catbert Great movie. Avoid movie if you're stupid. It'll make sense if you open your mind. 5 stars
11/06/01 Sean Liddell This movie SUCKED!!! 1 stars
11/06/01 Lost Boys Calling The best David Lynch yet. AND the answer is in the opening montage BEFORE the car accdent. 5 stars
11/06/01 Ben Doo-wop is great!! 5 stars
11/05/01 Ben Chung this is the movie. 5 stars
11/05/01 hugh jass what the hell was going on in the movie? 1 stars
11/05/01 Larry Reinhart Mixed emotions...High marks for the 1st half, low for the 2nd half. I need some logic. 2 stars
11/04/01 Andrew Hope Best Lynch since Blue Velvet and not so hard to figure out if you open your mind. 5 stars
11/04/01 S. Hamill Horne I thught it was excellent but didn't understand it. I am trying to pick up the pieces. 5 stars
11/04/01 tobematte Brilliant. I love that people don't get this movie. Thank you to those people, for being 5 stars
11/03/01 Worth seeing for the cinematography, although the lack of coherent plot is frustrating. 4 stars
11/03/01 Joe Herde' Silencio!! 5 stars
11/03/01 Philip Campbell Some people's dreams are better than other people's dreams. 4 stars
11/03/01 Jessica Moorleghen Haunting...sticks in your gut like oatmeal. Mmmm. 5 stars
11/03/01 John Harrison Too beautiful, too short - should have been a series! 5 stars
11/02/01 hee hee Soooo good. Beautiful and creepy. Would've been damn good TV. 5 stars
11/02/01 John Leonardo The Ansswer: This is a movie about a naive wannabe star who commits murder and then suicide 5 stars
11/02/01 Cory Worst movie I've ever seen. It made no sense. 1 stars
11/01/01 Seofon Bypasses the rational mind and speaks powerfully to the emotions. Masterful. 5 stars
11/01/01 Renee Chandler Loved it, but am very confused! 5 stars
10/31/01 Seth Quite possibly the greatest film I have ever seen. 5 stars
10/31/01 Astrojohnny A fabulous Film, easily Lynch's best 5 stars
10/31/01 Jon 2 stars
10/31/01 Angela langowski Best Lynchian interpretation of a dreamlike state passing for a movie. 5 stars
10/31/01 Brandon Money. Like watching a dream. 5 stars
10/31/01 Angela langowski Best Lynchian interpretation of a dreamlike state passing for a movie. 5 stars
10/31/01 marc faris erotic, scary, funny, unnerving - usually all of the above combined. brilliant, i think. 5 stars
10/31/01 Rachel a beautiful mix of the best attributes of blue velvet and erasurehead. 5 stars
10/31/01 Rajinder Lynch is a fucking crack-head... 2.5 hrs of mylife I can never get back!!!! 1 stars
10/31/01 Rajinder Lynch is a fucking crack-head... 2.5 hrs of mylife I can never get back!!!! 1 stars
10/31/01 Liamers Because he dared, and because I remember what I felt. Cinema is special. 5 stars
10/31/01 RICHARD The first two hours are a dying womans distortion of what her life was-could have been. 5 stars
10/30/01 G-Dowg We see people on the screen, yet there are no (real) people. Get it? 5 stars
10/30/01 davEy unsatisfactory tacked-on ending. a letdown to a good movie 4 stars
10/30/01 M- Lynch fan who feels gyped. 2 stars
10/29/01 motorb excellent film. just wish the ending could have been better. new actors and great music. 5 stars
10/27/01 AgentDS Uh... what? *still trying to figure it out* 4 stars
10/27/01 Iggy Just enough juice to keep us mice seeking out that cheese. Confusing and poignant. 4 stars
10/26/01 DJ Smurf What he wanted to do with Lost Highway, but this one works. 4 stars
10/25/01 Joe R. A flat out masterpiece. Lynch's best since Eraserhead. 5 stars
10/24/01 Mike Lewis Strange and interesting but not worthwhile 3 stars
10/23/01 The Alter Ego I LOVE THIS MOVIE!!! This is David Lynch's masterpiece! 5 stars
10/23/01 Nathaniel The possibilities are endless, and so you get more than your admission's worth 4 stars
10/21/01 Robert Very, very entertaining film. Sure, it's not totally comprehensible, but who cares. 5 stars
10/20/01 Thor-Leo Too long, too arbitrary, even for Lynch 2 stars
10/20/01 TimmyTomorrow He acheives in reaching mediocrity. 2 stars
10/16/01 frank incredible. 5 stars
10/16/01 Olive Miller A TRUE ART FILM, VERY BIZARRE AND HYPNOTIC 4 stars
10/14/01 Steve Harrison Pure Lynch - nothing else is worthy 5 stars
10/14/01 REAL critic it was horrible... way too long and nothing made sense... 1 stars
10/13/01 Reverend Krule Holy Fucking shit, that's all i can say to express this 5 stars
10/13/01 Heather Essential for David Lynch fans, absolute mindf*ck of a movie 5 stars
10/05/01 Jackson David Lynch is amazing and an artist in every sense of the word. 5 stars
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  19-Oct-2001 (R)



Directed by
  David Lynch

Written by
  David Lynch

  Justin Theroux
  Naomi Watts
  Laura Harring
  Ann Miller
  Dan Hedaya
  Mark Pellegrino

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