Betty Elms has only just arrived in Hollywood to become a movie star when she meets an enigmatic woman with amnesia. As the two set off to solve the second woman's identity, filmmaker Adam Kesher runs into ominous trouble while casting his latest project.
A fascinating look at the image of the nostalgic Hollywood versus the harsh realities that actors can face as they follow their dreams. It's a very thought-provoking piece with spectacular acting and a really great script. A must-watch.
MULHOLLAND DRIVE is a hyper-surreal neo-noir mystery with a nonlinear storyline and split characters — every element encourages confusion in the viewer. It’s the kind of film that demands you rewatch it (unless you’re renting it at $3.99 for 24 hours). I appreciate how Lynch left the ending ambiguous, refusing to explain “what it means,” hence opening the door for all the critical theories that currently circulate about and around the film.
Exhilarating not only for its dreamlike images and fierce, frequently reckless imagination but also for the fact that it got made (and released) at all.
While this road may contain too many potholes -- and plotholes -- to sustain an even ride, there are moments of greatness scattered throughout to remind us why Lynch is vital and why the French think he's so nifty.
No classic like "The Big Sleep," another famously impossible-to-follow Los Angeles thriller. But for those willing to hang on for dear life, Lynch makes it worth their while.
Lynch's Hollywood is a grand old girl, but she's one with some very treacherous curves. To trace the contours of her sensuality, you need a camera as sensitive as a set of fingertips. Lynch's is.
WHAT ARE PEOPLE SAYING?
A fascinating look at the image of the nostalgic Hollywood versus the harsh realities that actors can face as they follow their dreams. It's a very thought-provoking piece with spectacular acting and a really great script. A must-watch.
MULHOLLAND DRIVE is a hyper-surreal neo-noir mystery with a nonlinear storyline and split characters — every element encourages confusion in the viewer. It’s the kind of film that demands you rewatch it (unless you’re renting it at $3.99 for 24 hours). I appreciate how Lynch left the ending ambiguous, refusing to explain “what it means,” hence opening the door for all the critical theories that currently circulate about and around the film.
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WHAT ARE CRITICS SAYING?
Christian Science Monitor by David Sterritt
San Francisco Chronicle by Edward Guthmann
New Times (L.A.) by Gregory Weinkauf
New York Post by Lou Lumenick
Baltimore Sun by Michael Sragow
Chicago Tribune by Michael Wilmington
Miami Herald by Rene Rodriguez
Salon by Stephanie Zacharek
Variety by Todd McCarthy
Seattle Post-Intelligencer by William Arnold