| 100 |
Rolling Stone
Starting with the outrageous and building from there, he ignites a slight love-on-the-run novel, creating a bonfire of a movie that confirms his reputation as the most exciting and innovative filmmaker of his generation.
|
| 90 |
Variety
Staff (Not Credited)
Joltingly violent, wickedly funny and rivetingly erotic, David Lynch's Wild at Heart [based on the novel by Barry Gifford] is a rollercoaster ride to redemption through an American gothic heart of darkness.
|
| 88 |
Chicago Tribune
And yet there is enough of a core of sincerity to turn even the most preposterous moments-such as the film's dream-sequence finale-into something moving and true: You buy the feelings, even as the situations degenerate into the ludicrous and absurd. [17 Aug 1990, Friday, p.C]
|
| 80 |
Los Angeles Times
The drawback to Lynch's pile-it-on method is that it is reductive. One reason Wild at Heart, for all its amazements, isn't quite as stunning as "Blue Velvet" is because it seems less the working out of a single fixed obsession than an entire smear of obsessions. [12 Aug 1990, Calendar, p.29]
|
| 80 |
Empire
Staff (Not Credited)
Misfit cameos, apparently random asides and an almost continuous onslaught of unsettling sex and violence mean there’s no mistaking David Lynch’s hand behind the camera -- but there’s enough of a narrative to make this work as a straightforward road movie, too.
|
| 78 |
Austin Chronicle
David Lynch doesn't tell stories as much as he shows hallucinations. Wierd, wild, excessive, obsessive, idiosyncratic visions.
|
| 63 |
Chicago Sun-Times
There is something repulsive and manipulative about it, and even its best scenes have the flavor of a kid in the school yard, trying to show you pictures you don't feel like looking at.
|
| 50 |
Christian Science Monitor
As a story, Wild at Heart is even less coherent than “Blue Velvet,'' to the point where whole characters and subplots disappear into a murky haze at the end. [17 Aug 1990, Arts, p.11]
|
| 50 |
TV Guide
Staff (Non Credited)
A wacky, occasionally inventive road movie that fails to display the vision or the dark intensity of director Lynch's earlier work.
|
| 50 |
Washington Post
The movie's initial intensity is so great, it consumes itself. By the time we reach the final scene, which is clearly supposed to exude glorious rapture between offbeat lovers Nicolas Cage and Laura Dern, it has all the warming effect of cold ash.
|
| 42 |
Entertainment Weekly
A lurid hodgepodge of the ''subversive'' and the secondhand, the movie lacks the primal pop pleasures of Lynch's best work.
|
| 40 |
The New Republic
The best performance, the only one that can really be called acting, is Diane Ladd's as the mother. Ladd gives us a woman full of self-pity and shrewdness, full of sexual experience and guile, who has now reached the age when, if she wants to, she can turn off sexual heat in favor of cold power drive. [24 Sept 1990, p.32]
|
| 40 |
The New York Times
This time, though, Mr. Lynch's conceits are less often pleasurably disorienting than out of focus.
|
| 38 |
The Globe and Mail (Toronto)
The problem with the taboo-busters is that they feel calculated - in the past, Lynch's creepiness seemed casual and natural - and they take Wild at Heart so high it can't come down; the picture repeatedly jacks itself into frenzy only to crash into lethargy.
|
| 38 |
USA Today
One of the most violent opening scenes in screen history…Yet given such a visually adept exercise, the rest seems transparently off-the-cuff. There are obese trailer-camp porn stars, heavenly visions, a climactic rendition of Love Me Tender and no-point references to The Wizard of Oz - all of which top this two-hour farrago like a soggy tarp. [17 Aug 1990, Life, 4D]
|
| 30 |
Time
The first Lynch film in which his motives -- to hang a haberdashery of bizarre incidents on the merest hook of plot -- are apparent... What's lacking is the old sense of delicious, disturbing mystery. [20 Aug 1990, p.63]
|
| 20 |
Chicago Reader
At least (John) Waters cares about most of his freaks; for Lynch they're basically exploitation fodder for a puritanical "dark vision of the universe" that seems to come straight out of junior high, complete with giggles.
|
| 20 |
Washington Post
What "Wild at Heart" feels like is a kind of housecleaning -- a disjointed collection of images and odd snatches of ideas that the director couldn't make room for anyplace else. They have no context, and as a result, no power to thrill or disturb.
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