Lost Highway

User Score
7.8

Generally favorable reviews- based on 89 Ratings

User score distribution:
  1. Positive: 72 out of 89
  2. Negative: 8 out of 89

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User Reviews

  1. Mar 31, 2014
    10
    52? Seriously? This movie is absolutely brilliant. If you're someone who enjoys being fed meaning then it's simply not for you. Those prepared to feel their own way and drop the barriers between dream and "reality" will find an intangible joy in unusual and familiar dark places. When I first watched Mulholland Drive I felt cheated, disturbed and confused. I've since learned to give in to52? Seriously? This movie is absolutely brilliant. If you're someone who enjoys being fed meaning then it's simply not for you. Those prepared to feel their own way and drop the barriers between dream and "reality" will find an intangible joy in unusual and familiar dark places. When I first watched Mulholland Drive I felt cheated, disturbed and confused. I've since learned to give in to the confusion and explore all the gaps between my stupid expectations. I find it rather offensive that Mulholland Drive has such a high rating in comparison to Lost Highway and can only assume that it's due to the nudity and lesbian scenes. I really hope that isn't true. David Lynch uses sex as a vehicle for something far more erotic and devastatingly honest. His movies leave me twisting for truth and dreaming within dreams that turn on themselves and walk their way "back" into life. I will always have a sincere love and respect for the artist that showed me what I want by failing to deliver what I learned to need. Thank you for denying me this and granting me so much more. Expand
  2. Jan 19, 2016
    10
    I've been hankering to see this one again. I think it might be better even, overall, than Blue Velvet, though the latter is undeniably more straightforward. I guess I understand why the "dream" comparisons seem to be frequently invoked when talking about Lynch and "Lost Highway," but if you know anything about Lynch's methods he doesn't particularly lean toward dreams or dream imagery.I've been hankering to see this one again. I think it might be better even, overall, than Blue Velvet, though the latter is undeniably more straightforward. I guess I understand why the "dream" comparisons seem to be frequently invoked when talking about Lynch and "Lost Highway," but if you know anything about Lynch's methods he doesn't particularly lean toward dreams or dream imagery. Rather, as I understand it, he just gets these ideas in his mind and he doesn't censor himself, so the starting material is different because he's never coming from the too typical place of just trying to come up with a movie premise that people might like. And then, when he starts putting his ideas together, he doesn't allow conventions and commercial concerns lead him astray, he stays true to his vision and he is one of the few who can get away with that.

    This film was the first to deal with the idea of a transmigration of identity, something Lynch may or may not have picked up from a 19th Century craze, I don't know. He continued working with this idea in Mulholland Drive and Inland Empire, though to me those two were less successful than Lost Highway, which is why I'm writing this. I hope more people can find out about Lost Highway and enjoy it as much as I have.

    So, to appreciate this film I recommend not getting too caught up in understanding it. It's a harsh critique of Hollywood, for one thing. The humor is about as deadpan as you can get. The violence is not pervasive but is at times strong. I don't find it gratuitous at all, though. Many people get their attentions taken with the sense of dread that is certainly there, but I now see more of the humor and style. Lynch is, above all, the most stylish of all contemporary American directors, I think without even a close rival. Also, he may be the sexiest. His sex scenes just sizzle and pop, think about the seduction scene in Blue Velvet or the lovemaking sessions between Cage and Dern in Wild at Heart. This film is no exception, Patricia Arquette smolders and her love connection with the young hero feels real and alive.

    The word "pretentious" some have used here puzzles me. Lynch may be Hollywood's least pretentious director! He's very true to his own vision and doesn't try to intellectualize. I don't get that criticism. Also, too much emphasis on "understanding" it. Look, it's kind of simple: there is a sort of identity migration. It's a mystical concept, no scientific basis for it, so you kind of have to go with it. It deals with evil in a way that may seem needlessly oblique to some but in return for a little patience and open-mindedness you get to see Robert Blake, in white pancake makeup, being Satan incarnate! I think that is worth the price of admission alone.
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  3. Apr 6, 2016
    7
    One of the hallmarks of a David Lynch film is the element of surprise -- the sense of not knowing what will happen next and the queasy dread that what you're about to see could disturb and haunt you and linger in your head for a long time.

    Lynch established that agenda in "Eraserhead," his first feature- length film, and he hasn't abandoned it to a futile quest for mainstream
    One of the hallmarks of a David Lynch film is the element of surprise -- the sense of not knowing what will happen next and the queasy dread that what you're about to see could disturb and haunt you and linger in your head for a long time.

    Lynch established that agenda in "Eraserhead," his first feature- length film, and he hasn't abandoned it to a futile quest for mainstream acceptance.

    It's impossible to imagine Lynch making a conventional film with "normal" people and "normal" entertainment values -- a fact that binds his fans to him but alienates many critics and moviegoers.
    In "Lost Highway," which opens today at Bay Area theaters, Lynch continues his exploration of the unknown and delivers a dreamlike meditation on reality, identity and paranoia. Set in a bland city that resembles Los Angeles, "Lost Highway" stars Bill Pullman, fresh from play ing the enthusiastic president in "Independence Day," as Fred Madison, a spooked saxophonist who finds himself terrorized by a man who enters his house when he's asleep and videotapes him and his girlfriend Renee (Patricia Arquette) as they sleep.

    At a party, he meets a smirking trickster, played in ghostly white makeup by Robert Blake, who declares himself the culprit. Blake invites Pullman to dial his own phone number and to listen as Blake, who's standing before him, "answers" at the other end of the line.

    That's just a taste of what Lynch and co-writer Barry Gifford, whose novel "Wild at Heart" inspired Lynch's 1990 film of the same name, have to offer.

    There's also a murder; a fire; a personality transformation involving an auto mechanic (Balthazar Getty); a gangster's moll, also played by Arquette, who cons Getty into committing a crime; a memory lapse by Getty; a reappearance by Pullman; and a series of bizarre foreshadowings and precognitive images that may or may not pro vide clues to the mystery of "Lost Highway."

    The result is a world, part film noir, part apocalyptic acid nightmare and pure Lynch, in which nothing can be trusted or relied upon -- least of all our psychic well-being.

    It's a weird movie, in that spooky/sicko, deadpan way that Lynch's movies always are, and it's guaranteed to repel anyone who likes entertainment wrapped in tidy resolutions and optimistic fade- outs.

    The visuals, Angelo Badalamenti's music and Lynch's sound design -- his perennial sound designer, Berkeley's Alan Splet, died in 1994 -- are all effective, and the comic bits, specifically Robert Loggia's scene as a mobster berating a tailgating motorist, are all effective.

    Filmmakers such as Lynch deserve our admiration for creating new cinematic idioms and exploring new ground. At the same time, "Lost Highway" often feels like a stunt -- like an arcane, deliberately perverse game that Lynch knew would never make sense. It's also feels, with its similarities to "Twin Peaks: Fire Walk With Me," "Blue Velvet" and "Wild at Heart," like overly familiar territory. Lynch's great wish is to shock and arouse us, but in using the same kind of music, camera effects and offbeat editing rhythms over and over, his work is beginning to look like variations on a single theme.

    Arquette, whose low-in-affect style is perfectly matched to Lynch's, gives the strongest, most memorable performance -- and brings to mind Kim Novak's similar dual roles in "Vertigo."

    There is also a cameo by Richard Pryor, along with appearances by Gary Busey, rock star Henry Rollins and Natasha Gregson Wagner, daughter of the late Natalie Wood.
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  4. Jul 16, 2013
    10
    This film follows (and transcends) the European "art film" model of a non linear narrative, oblique dialogue and double characters (a la Luis Buñuel and Krzysztof Kieślowski). However it is also injected with American action film motifs combined with truly odd Lynchian touches that make this one of the most remarkable films of the 90's. The party scene is one of the scariest sequencesThis film follows (and transcends) the European "art film" model of a non linear narrative, oblique dialogue and double characters (a la Luis Buñuel and Krzysztof Kieślowski). However it is also injected with American action film motifs combined with truly odd Lynchian touches that make this one of the most remarkable films of the 90's. The party scene is one of the scariest sequences caught on film...ever. Expand
  5. Oct 17, 2013
    7
    "Lost Highway" is an example about most experimental David Lynch's films. A possible Doppelgänger lead character, Fred, and a mysterious unsolved crime. It's very difficult to understand this film with first view. It's necessary to watch again. Interesting film no logic. It's an avant-garde movie.
  6. WillS.
    Jul 3, 2006
    10
    Anyone who votes less than 10 for this movie did not understand it, and therefore is an idiot.
  7. Sep 15, 2013
    7
    I find it amusing when people say something like Inception is "confusing". Nobody does it like David Lynch. Lost Highway is one of the most polarizing movies ever made. It's weird,abnormal,confusing, nightmarish', and doesn't follow the typical A-B-C narrative structure. It's definitely a wild ride. Lost Highway isn't Lynch's greatest film, that honor would go to Blue Velvet or MulhollandI find it amusing when people say something like Inception is "confusing". Nobody does it like David Lynch. Lost Highway is one of the most polarizing movies ever made. It's weird,abnormal,confusing, nightmarish', and doesn't follow the typical A-B-C narrative structure. It's definitely a wild ride. Lost Highway isn't Lynch's greatest film, that honor would go to Blue Velvet or Mulholland Drive. But If your looking for an insane movie experience,this is it. Complete off the wall insanity. Expand
  8. Bart
    Jan 2, 2008
    10
    David Lynch does not make movies for buisness. His movies do not have a target audience becasue he does not care about audiences nor does he care or know the meaning of this film. If you can deal with that than you will love this movie. If you are a visual person you will also love this movie for it has a very unique dreamlike look that only David Lynch can master.
  9. Joris
    Nov 4, 2006
    10
    This is not a movie, this is Art. You have to analyze Lynch' surrealism like a dream, with all the archetypal creeps and weird characters as subconscious projections around a few protagonists. The critics are retarded and don't seem to get it. It's awesome and breathtaking from beginning to finale. One of my favourites -Mulholland Drive is even better!
  10. ZackH.
    Dec 9, 2006
    10
    This was my first contact with Mr. Lynch's work. I watched it not knowing what to expect at all. When the final credits showed up, I was shocked! I sincerely thought that was the most nonsensical garbage of a movie I watched in the past decade! Despite that, I just couldn't get it out of my head for the following 4 hours. More than that: I was actually obsessed with it! Late at This was my first contact with Mr. Lynch's work. I watched it not knowing what to expect at all. When the final credits showed up, I was shocked! I sincerely thought that was the most nonsensical garbage of a movie I watched in the past decade! Despite that, I just couldn't get it out of my head for the following 4 hours. More than that: I was actually obsessed with it! Late at night that day, in bed, still trying to figure out what in the world I had just watched, I got the "revelation". Instantly, without watching the movie again, I was convinced this was one of the best movies of the decade! Thank you Mr. Lynch for providing an island of originality in an ocean of linear, dumbed-down, conservative story-telling. Lynch does on film what Escher does on canvas. Expand
  11. RichardJ.
    Mar 25, 2008
    10
    A Brilliant Masterpiece. Thank God (David Lynch) for people like Zack H. and Joris and Horatio A. and Will S.
  12. HoratioA.
    Nov 22, 2004
    10
    This movie is terrific. David Lynch has the ability to create the most nighmarish, yet unforgettable characters.
  13. Oct 16, 2010
    7
    The Lost Highway is good but is nothing up to the standard of Mulholland Drive. It neither sustains or builds up suspense like Mulholland Drive, but the critics have rated it very harshly. There are moments of Lynchian genius and brilliance but this is all in the context of a movie that does not build up the same reputation as other Lynch projects. A good movie that is as disturbing as itThe Lost Highway is good but is nothing up to the standard of Mulholland Drive. It neither sustains or builds up suspense like Mulholland Drive, but the critics have rated it very harshly. There are moments of Lynchian genius and brilliance but this is all in the context of a movie that does not build up the same reputation as other Lynch projects. A good movie that is as disturbing as it is interesting but if you need one to rent during a weekend get Mulholland Drive. Expand
Metascore
52

Mixed or average reviews - based on 21 Critics

Critic score distribution:
  1. Positive: 7 out of 21
  2. Negative: 1 out of 21
  1. 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.
  2. David Lynch's eye-popping imagery is buried under an avalanche of self-indulgence.
  3. 50
    It's a soulless and dull bit of showmanship, but it sure sounds profound.