User Score
7.3

Generally favorable reviews- based on 124 Ratings

User score distribution:
  1. Positive: 91 out of 124
  2. Negative: 24 out of 124

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  1. Apr 29, 2011
    10
    There is a very definite, specific entry point into this film. The bewildering, chaotic, inscrutable personality of this misunderstood film is only a facade - a false front - concealing a remarkably lucid narrative that absolutely is David's most potent, most intense, most shattering creation. There are "clues" offered at the film's beginning as to just what is required of the viewer inThere is a very definite, specific entry point into this film. The bewildering, chaotic, inscrutable personality of this misunderstood film is only a facade - a false front - concealing a remarkably lucid narrative that absolutely is David's most potent, most intense, most shattering creation. There are "clues" offered at the film's beginning as to just what is required of the viewer in order to "gain access." These clues are delivered via the curious words of the "Polish" characters who are expressing a desire, a need for us to disregard all our preconceptions of Lynch's previous work, and more importantly to adjust our awareness to a point where all the fractured, hysterical elements of the film somehow realign into a much much more coherent continuum.There's even a fairly explicit instruction on how to achieve this mental "adjustment" provided by the unusual foreign "neighbor." The "story" you then discover is astoundingly vivid and vibrant. It unfolds elegantly, magically within your mind in a most spectacularly visceral process, like the most intense 3D of the mind - ultra turbo psycho 3D. It's David's stunning singular achievement to have so thoroughly deconstructed the forms of cinema and TV and theater and web casts and static art in order to create an entirely new, original, vital art form. It's revolutionary and unequaled by any other living artist. James Joyce attempted something similar in literature, Picasso labored for something comparable in cubism, Gandhi suggested something related in politics, and Shaman for eons have operated through similar processes to affect the Consciousness. Subjective experience is a malleable, variable, fluid process that defies our attempts to contain it, to name it, to control it. So David has learned if you can't beat it, join it. And he has intimately joined with these vague and threatening forces that guide our psyches. And in order to join with, or grok, this film you must surrender to it's design. It will reward your time and efforts ten fold. It's a roller coaster ride through the vast caverns, meandering galleries, and cluttered cupboards of David's Provincial Gothic mind. It transports you to a destination that presents itself as a profoundly disturbing insight into the nature of our Western Culture, the implications and ramifications of which are staggering in their impact. David has expressed his experience of being alive through a virtual recreation of process by which he came to his insight. We are not just witnessing a description of his discovery, but seemingly actually accompanying him on his spiritual voyage. I could almost hear him whispering in my ear the entire time, "This is so intense, right?" There is a profoundly sublimely experience that awaits you, if you choose to pursue this unprecedented adventure. If you do, you will know the deepest mystery of cinema and the society that reveres it. Expand
Metascore
72

Generally favorable reviews - based on 24 Critics

Critic score distribution:
  1. Positive: 15 out of 24
  2. Negative: 0 out of 24
  1. Over time, though, with films such as "Lost Highway" and, to a lesser extent, "Mulholland Drive," Lynch's movies became less personal and more private. Whatever he is working out in his new film, Inland Empire, it's beyond the reach of all but his idolators.
  2. Inland Empire is so locked up in David Lynch's brain that it never burrows its way into ours.
  3. 88
    My advice, in the face of such hallucinatory brilliance, is that you hang on.