Lost Highway Reviews

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Super Reviewer
January 10, 2008
A jazz saxophonist is accused of murdering his wife; on death row, he mysteriously suddenly turns into a young mechanic who is released and has an affair with a gangster's moll who looks exactly like the dead wife. A lush and sensuous Lynchian nightmare borrowing equally from horror movie and film noir; much like his succeeding film, MULHOLLAND DRIVE, except more baffling.
Super Reviewer
January 1, 2007
Another David Lynch film that will baffle you as you try to work out what is real, what isn't, what is going on? It's not quite as strange as some of his other films, but that's not saying much. He does have a slick style though, one film that will make you think about it long after viewing.
Super Reviewer
½ March 3, 2012
Underrated and creepy as hell, Lost Highway is two stories mashed together. Robert Blake is one of the scariest things I've ever seen in this one.
Super Reviewer
March 18, 2007
As years pass by i've started to like this one a lot more. Pullman plays a great lead role, and Robert Blake is pretty damn creepy.
Super Reviewer
½ April 17, 2011
"Lost Highway" is weird. It's weird because, for some reason, it's not as alienating as other David Lynch films. Well, don't get me wrong, it's a cold, distant film, but it never stops being mesmerizing. Weather you love or hate Lynch, you simply cannot deny that he is an expert at atmosphere and atmosphere is what "Lost Highway" does best. I love movies that use Los Angeles as a character, it's so visually unique and can be quite haunting, and no one knows this better than Lynch. He uses it to such an incredible effect there, too bad the story makes no sense- no, really, it makes no sense. Any meaning you take from this story will be your own interpretation. There are no answers here, like in "Blue Velvet" or "Mulholland Dr." but thankfully it's not as aggravating as "Inland Empire." "Lost Highway" should be seen by hardcore fans of David Lynch or simply to see how versatile the city of Los Angeles can be used on film.
Super Reviewer
November 17, 2009
Everything about this movie just was the right kind've bizarre that David Lynch excels at. The narrative is split in the most awkward way possible, which really worked. Who else would've thought a human melting in solitary confinement? It makes perfect sense, only in the world of David Lynch. The acting perfectly stylized as usual. David Lynch always gets these amazing stylized performances that I never get tired of, maybe because they're so subtle and full of different meanings. What I found different about this from David Lynch's other movies is that it's played dead serious. Most of his other work (aside from adaptions) seem to be sarcastic in some way, but this really felt like a great change of pace. There's some messages here and there that seem to suggest poking fun at the viewer, but the story itself is always respected completely. It's very similar to the way that The Seventh Seal has metaphors and suggestive imagery, but on the surface it's still straight-forward.
Super Reviewer
½ July 25, 2008
Bizarre film noir about a jazz saxophonist and his wife who begin receiving mysterious video tapes from someone who appears to be filming them while they sleep. Typically Lynchian, surrealist film kicks off with one of the creepiest set ups ever filmed, then trashes that story and completely falls apart. Fascinating first half gives way to a narratively baffling second half. Identities change, characters disappear and sexual encounters occur without even a trace of eroticism. A deeply flawed film, but the initial neo-noir mood is so hypnotic and spooky, it cannot be dismissed.
Super Reviewer
July 2, 2009
A twisting, turning, utterly confusing yet often arresting story concerning a musician caught in the middle of a murder case, and how his mind enacts different personalities and bends reality to fit his twisted outlook on his life. You should expect nothing less from David Lynch, who has a knack for telling stories in a unique and confusing way. To me, his classic "Blue Velvet" is entirely overrated, while "Mulholland Drive" is a classic that deserves to be seen. To me, "Mulholland Drive" did a better job creating suspense, not to mention the performances were outstanding. Here, the performances are sub-par, Pullman is a fine fit as the lead character, as is Arquette as his wife, but Getty is too boring and unemotional, while Robert Loggia is completely over the top, although Robert Blake gives a memorable, creepy performance as a mystery man. While, like with many Lynch movies, you'll have to do some extra digging and researching as to what the whole movie means, this is still a decent movie, not great, but watchable if you like these kinds of movies. I liked it up to a point, but some things definitely could've been sharpened a bit more.
Super Reviewer
½ November 29, 2007
"lost highway" is actually not as incomprehesible as most people think by first-time viewing, and it's probably the most "linear" storytelling of lynch, a zigsaw awaiting to be jointed together. from my perception, it's about a night-club jazz musician's suspicion upon his wife who constantly cheats on him and possibly an underground amateur porn actress. so the betrayed hubby sets his way to brutally slaughter all the cuckolds involved, then escaping the police as well as his chaotic life forever in the lost highway. the rest is his nightmarish imaginations of love, lust, self-loathe and hate. so he dreams of killing his wife to be sentenced to electric chair to be redeemed/rejunvenized as a stud-like young dude who gets laid around, particularly the blonde seductress who resembles his estranged wife (in reality, he's so traumatized by doubts that he cannot even consummate the intercourse, ain't we always dream what we can't have?). but when the issue of the woman's promiscuous treacheries occur, the gleeful dreams of erotica awakens by the gruesome reality as he gazes her orgastic expressions on the pornographic screen, shame and humiliation start to take over in its way to torment him. then he retreats to his impotent older true self after the young dude makes love and exclaims "i want you" repeatedly...the response is leanly echoed, as our femme fatale whispers insidiously "you will never have me!"(truth revelt.)...all this wronged husband could do is to obliterate his rival who disgraces him. at the last scene, he talks to the doorgate speaker "dillon is dead!"(as if his mission is completed) then drives toward the highways to get lost for good since his affections cannot be requited and his possessive lust cannot be fulfilled despite he revengefully gets riddance of his symbol of shame in the middle of desert.

patricia arquette shall be one of the hottest actresses in the 90s, ideal incarnation of neo-femme-fatale, blonde bombshell and the gritty it girl with edges. she has to bare and dangle her tits over 5 men within this movie, from young to old, handsome to ugly(they're all lucky bastards. ha)...it surely does transmit a daredevil raw sensuality like a contemporary barbara stanwyck without hesitant pretension but brazenly unlimited sesuality while she struts naked in her immaculate luring body. spicy furry red heels or leopard short-jacket, any overly gaudy clothings just look right on her. she even has a bettie page reminiscence hairdo at the start.(everything about this woman is all sexualized.) in one moment, she even poses a gun to tease the man and tells him to stick it into his pants(what an obvious insinuation), and she wears leopard jacket like woman predator with a residual of vintage glamour. which actress in the 90s or 2000s could rival THAT? patricia arquette is the coolest postmodern femme fatale/phallic woman could ever be in the pinnacle of the prime stage of 1990s.

bill pullman is a mighty surprise since he was the typecasting of mr. right in those 90s chic flicks. and belthazar getty does have it-boy aura of marlon brando in "the wild one" with his leather jacket and the big harley. (david lynch must love those archetypes since the vintage hollywood hommage appears even stronger in muholland dr.) "lost highway" would probably be the best neo-noir ever made in 1990s(letting alone the tarentino jokes) as well as lynch's most contagious work so far since it has one of the best soundtrack in contemporary cinematic history when industrial rock'n'roll weds so gluingly with improvised jazz.
Super Reviewer
January 8, 2009
The more I see of David Lynch the more I'm convinced that he has little or no regard for the space/time continuum. Whether or not all the pieces of Lost Highway 'fit together' is a subject better suited for a film studies class than a Flixster review. All I know is that I enjoy Lynch's work far more when I stop trying to puzzle everything together and let myself get lost in the story.

Lost Highway is spooky-good. A cinematic amusement park that's part roller coaster, part fun-house and part side-show. I absolutely loved it.

*NOTE: Did anyone else get the impression that Robert Blake's character would feel right at home playing chess in an Ingmar Bergman film?
Super Reviewer
January 7, 2009
New favorite movie. Will figure out exactly why soon enough (besides all the obvious that many others have probably already mentioned). After a few more absorbs and reading the reviews already up, I'll add my highlights and "oops we missed this" commentary.
Super Reviewer
½ July 30, 2007
The O.J Simpson case through the deceitful mind of David Lynch. A powerful, twisted, devilish jigsaw. eerie Robert Blake.
Super Reviewer
½ October 31, 2008
Typically weird but pointless, boring and a waste of time.
Super Reviewer
September 11, 2008
Even though it's not as approachable as Blue Velvet or a total masterpiece like Mulholland Drive, Lost Highway once again represents the way David Lynch attacks filmmaking. He doesn't us a linear line from beginning to end. He shoots right for the heart and blows it to pieces.

I'm not even going to start describing the plot- that would take forever and you wouldn't understand it anyway. The film deals with jazz musician Fred (Bill Pullman) and his emotions. Guilt, jealousy, rage, obsession. That's what the film's about and it all manifests itself into a demon keeping a tally in the butchers bill.

Lynch's shots are great throughout the film and the details I noticed made me realize how in tune he is to his films. I never realized until watching Lost Highway that I had never actually heard the "boot-up" of a VCR in a film before. It's all in the details.

Lost Highway isn't David Lynch's best work, but it does deliver a little thought process time that only a David Lynch film can do.
Super Reviewer
November 2, 2007
fantastically twisted neo noir. my second favorite lynch film ... in spite of the marilyn manson porn. robert blake IS the devil
Super Reviewer
½ October 18, 2007
I have found 4 things universal to all David Lynch movies. 1) I never have any clue what the hell is going on. 2) I never care that I have no clue what is going on. 3) Lynch sexually exploits the crap out of whatever respectable female lead he has. 4) His fans would walk in front of traffic to defend his piece of crap movies.
Super Reviewer
½ August 7, 2007
My favorite Lynch movie.
Super Reviewer
½ August 12, 2007
Confusing and nightmarish from start to end. Bill Pulman and Balthazar Getty play different sides of the same soul. Frank (Pullman) is accused of murdering his cheating wife and Pete (Getty) is sleeping with a gangster's wife. The women in both stories are played by Patricia Arquette; one brunette (Renee), another blonde (Alice).

The two stories connect and shift at various points throughout the movie, causing some confusion. There are various hints Fred and Pete might be the same person, occupying different realities.

Visiting both stories was the creepy Robert Blake "Mystery Man" character, a nymph-like spectre with a pale face and dark eye makeup. He seemed aware of what is really happening with both realities, but he doesn't reveal the truth.

The viewers are left to decypher what truths exist. I found it interesting when Pete the mechanic chases Alice (the blonde Patricia Arquette) into the cabin on the beach, all he finds there is the Mystery Man instead...

Even after reading the various Internet theories about what occurred, I'm still confused with many of the scenes. There could be a time loop involved, alternate identies, or a psychological personality split. Both stories had fantastic elements, so perhaps neither really occurred in whole.

The characters are as confused as I was. I think it succeeds if it is indeed told from the point of view of an insane person. The experience does not add up to a cohesive reality, so the scenes must be appreciated for the bizarre and creepy collection they are. I'll watch it again.
Super Reviewer
April 26, 2007
I don't know what's going on...I'm freakin out man
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