The notorious David Lynch has always held a rather slippery grip on narrative construction and a rather absent grasp on convention. At last we left him, his surreal dreamscape was the city of L.A. and a pair of lesbian lovers who may or may not have broken up because of a brash film director, and that's just the peripheral story. Mulholland Drive was Lynch at his very best, using Los Angeles as a canvas to purge all his hallucinatory digressions and woozy dreams into a noir-tinged love story. Lynch now returns to L.A. once again for Inland Empire, a 180-minute, digitally-shot nightmare that culls together the absolute worst attributes of Lynch and his personal style.
Continue reading: Inland Empire Review
Christopher Null, not overly impressed
Continue reading: Mulholland Drive Review
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