Lost Highway | Review

No director since 1986 has made a movie superior to Lynch's Blue Velvet. Even though it was looked over upon a horrible decision made by the AFI, I consider Blue Velvet to be one of the most proficient movies ever made. Another Lynch classic was the Elephant Man, but was probably heavily re-edited to maintain a PG rating. I have of yet to see Wild At Heart and Eraserhead (I am dying to see it) but, Twin Peaks: Fire Walk With Me, after a masterful first third of the movie, with Chet Desmond and Sam Stanley investigating the death of Teresa Banks, the rest of the movie turns into one of the biggest disapointments I have ever viewed. But, Lynch's latest, Lost Highway is THE best movie I have ever seen.
Alice Wakefield (Patricia Arquette)

Renee Madison (Patricia Arquette again!)
Combining elements of the film-noir genre, Lynch creates a work that is enjoyable, as well as enigmatic. The movie's scenes are filmed so professionaly, it is hard to realize that many critics did not like the movie. Bill Pullman does an excellent acting job as the jazz musician Fred Madison, an addition to Balthazar Getty, Robert Loggia, Robert Blake, and Natasha Gregson Wagner. But, it is Patricia Arquette who is the standout of the crowd. She had dual roles, which were nearly completely different from each other. Overlooked for an oscar (which she deserved), Arquette's sultry performance is nearly uncomparable with any other actress that has ever lived.

Lynch's and Barry Gifford's screenplay used sparse dialogue, which is an excellent achievement considering film making was originally intended for the standout of imagery (remember silent films?); Lynch's scenes are so hypnotic, its hard to realize that you are just a viewer. The story is very creative, and unlike Fire Walk with Me, he creates mood with the images. What develops as an Alfred Hitchcock thriller turns into a film-noir triangle and then back to Lynch's own twist.
Although the film can be compared to Blue Velvet using some aspects, such as the light and dark ladies, this film stands on its own ground. If only Lynch had other fellow, creative film directors, then movies would not be just a waste of time.

** During the same time Lost Highway was released, there was another controversial film, Crash, directed by David Cronenberg--do not see it if you liked Lost Highway: it's unenjoyable, stupid, and has plenty of unneccessary scenes that show why this film was rated so badly.

No director since 1986 has made a movie superior to Lynch's Blue Velvet. Even though it was looked over upon a horrible decision made by the AFI, I consider Blue Velvet to be one of the most proficient movies ever made. Another Lynch classic was the Elephant Man, but was probably heavily re-edited to maintain a PG rating. I have of yet to see Wild At Heart and Eraserhead (I am dying to see it) but, Twin Peaks: Fire Walk With Me, after a masterful first third of the movie, with Chet Desmond and Sam Stanley investigating the death of Teresa Banks, the rest of the movie turns into one of the biggest disapointments I have ever viewed. But, Lynch's latest, Lost Highway is THE best movie I have ever seen.
	Combining elements of the film-noir genre, Lynch creates a work that is enjoyable, as well as enigmatic. The movie's scenes are filmed so professionaly, it is hard to realize that many critics did not like the movie. Bill Pullman does an excellent acting job as the jazz musician Fred Madison, an addition to Balthazar Getty, Robert Loggia, Robert Blake, and Natasha Gregson Wagner. But, it is Patricia Arquette who is the standout of the crowd. She had dual roles, which were nearly completely different from each other. Overlooked for an oscar (which she deserved), Arquette's sultry performance is nearly uncomparable with any other actress that has ever lived.
Lynch's and Barry Gifford's screenplay used sparse dialogue, which is an excellent achievement considering film making was originally intended for the standout of imagery (remember silent films?); Lynch's scenes are so hypnotic, its hard to realize that you are just a viewer. The story is very creative, and unlike Fire Walk with Me, he creates mood with the images. What develops as an Alfred Hitchcock thriller turns into a film-noir triangle and then back to Lynch's own twist. Although the film can be compared to Blue Velvet using some aspects, such as the light and dark ladies, this film stands on its own ground. If only Lynch had other fellow, creative film directors, then movies would not be just a waste of time.