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A tormented jazz musician finds himself lost in an enigmatic story involving murder, surveillance, gangsters, doppelgangers, and an impossible transformation inside a prison cell.
An imaginative film that plays with the subconscious, dreams, the psyche, and hallucinations in a really interesting and thrilling way. The story meanders in directions you don't expect it to, truly diving into the feeling of dreams/nightmares.
The film actually deserves four stars for its imaginative style and astonishing suspense, zero stars for its shameless exploitation of violent shocks and loveless sensuality.
Lost Highway, an elaborate hallucination that could never be mistaken for the work of anyone else, finds Mr. Lynch echoing the perversity of "Blue Velvet," the earlier film of his that this most closely resembles.
Lynch, who penned the screenplay with novelist Barry Gifford (Wild at Heart), seems to be attempting to capture not just a sense of place and time (it never works -- Lost Highway is wholly, irrevocably, out of place and without any linear time or time line to speak of), but also a sense of madness.
Although uneven and too deliberately obscure in meaning to be entirely satisfying, result remains sufficiently intriguing and startling to bring many of Lynch's old fans back on board for this careening ride.
WHAT ARE PEOPLE SAYING?
An imaginative film that plays with the subconscious, dreams, the psyche, and hallucinations in a really interesting and thrilling way. The story meanders in directions you don't expect it to, truly diving into the feeling of dreams/nightmares.
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WHAT ARE CRITICS SAYING?
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Christian Science Monitor by David Sterritt
The New York Times by Elvis Mitchell
Chicago Reader by Jonathan Rosenbaum
L.A. Weekly by Manohla Dargis
Austin Chronicle by Marc Savlov
The Globe and Mail (Toronto) by Rick Groen
Chicago Sun-Times by Roger Ebert
Variety by Todd McCarthy