| 80 |
Dallas Observer
His most thoroughly surreal work since Eraserhead, this two-hour-plus fever dream is more of one piece than Fire Walk with Me and less desperate and jokey than Wild at Heart.
|
| 80 |
Empire
Christopher Hemblade
This is delightfully bonkers; an eerie and edgy outpouring that makes Twin Peaks look like Moonlighting.
|
| 75 |
San Francisco Chronicle
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.
|
| 70 |
Chicago Reader
Properly speaking, this isn't a movie with characters but with figures, each of them as overblown as a plastic inner tube.
|
| 70 |
The New Yorker
Michael Sragow
The first half of this 1997 movie suffers from abstraction. Still, it's a compelling erotic nightmare.
|
| 67 |
Entertainment Weekly
Lost Highway has scattered moments of Lynch's poetry, but the film's ultimate shock is that it isn't shocking at all.
|
| 63 |
ReelViews
Lost Highway is unusually bizarre even for this atypical director. Co-written by Barry Gifford, the film ventures deeper into the nearly psychotic supernatural than any feature Lynch has previous overseen.
|
| 60 |
Los Angeles Times
Beautifully made but emotionally empty, it exists only for the sensation of its provocative moments.
|
| 60 |
Variety
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.
|
| 60 |
The New York Times
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.
|
| 50 |
Chicago Sun-Times
It's a shaggy ghost story, an exercise in style, a film made with a certain breezy contempt for audiences.
|
| 50 |
Christian Science Monitor
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.
|
| 50 |
The Globe and Mail (Toronto)
David Lynch's eye-popping imagery is buried under an avalanche of self-indulgence.
|
| 50 |
LA Weekly
It's a soulless and dull bit of showmanship, but it sure sounds profound.
|
| 50 |
Austin Chronicle
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.
|
| 50 |
Newsweek
Jack Kroll
In Lost Highway, reality has become a dream. But Lynch has forgotten how boring it is listening to someone else's dream.
|
| 50 |
Washington Post
In Lost Highway, David Lynch dabbles in spooky, chilly implication and a sort of hip incoherence.
|
| 50 |
Salon.com
Here, Lynch has traded some of his disturbing originality for noir formula and schticky weirdness.
|
| 40 |
TV Guide
A feature-length Twilight Zone episode, filtered -- not entirely successfully -- though the sensibilities of David Lynch and his Wild at Heart collaborator, Barry Gifford.
|
| 40 |
The Onion (A.V. Club)
A slow, ponderous, ultimately unsuccessful exercise in cerebral nihilism.
|
| 30 |
Slate
Lost Highway, David Lynch's first movie in five years, is a virtuoso symphony of bad vibes.
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