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Typical David Lynch fare: fans of the director will find Inland Empire seductive and deep. All others will consider the heady surrealism impenetrable and pointless.
All Critics (107)
| Top Critics (33)
| Fresh (77)
| Rotten (30)
| DVD (13)
Inland Empire opens and contracts in your imagination while you watch it -- and you're still watching it well after it's left the screen. It's a long but thoroughly absorbing three hours.
An amazing and unshakeable experience.
A bucket of Lynchian leftovers, stirred slightly and left to ferment in the dark.
You may find Lynch's experimentalism and willful obscurity to be the work of a poseur, ultimately pointless drivel. I can understand that, but I think you would be wrong.
A can't-miss experience and likely one of the year's very best films.
The great eroto-surrealist David Lynch has gone truffling for another imaginary orifice of pleasure, with results that are fascinating, sometimes very unwholesome, and always enjoyable.
Lynch, armed for the first time with a digital camera, ventures so far into the excesses of split narrative, talking rabbits and the obscure that only the most die-hard fan will find merit in this celluloid rune.
Die-hard Lynch fans will undoubtedly find Inland Empire brilliant, but casual fans will likely think it tedious. For Lynch detractors, it will be a torture method more effective than the rack.
The one thing that David Lynch can do is to leave you with a lingering feeling. Long after a host of other films have come and gone, elements from his films stay lodged in your brain.
A terrifying nightmare to lose yourself in.
Trippy, twisty thriller is totally out to Lynch.
"A dream of dark and troubling things" is how Lynch himself described his directorial debut Eraserhead in 1977. It's fitting them that his first and (so far) last film share similarities with this description. In fact, this is probably the most coherent thing you can take from INLAND EMPIRE (Lynch insists the title is capitalised). Even the marketing executives had no idea how to promote the film and, in the end, decided to punt it with the most basic of taglines: A woman in trouble. The rest is basically up the individual viewer. But make no mistake, INLAND EMPIRE lands you squarely in Lynchland.
Plot: After taking the lead in a new movie "On High in Blue Tomorrow's", Hollywood star Nikki Grace (Laura Dern) learns the script was actually filmed once before as a Polish film named "47". Her director (Jeremy Irons) informs her that the film may have been cursed as it was based on an old Gypsy folktale and led to the murder of its previous actors. Believing this to be true, Nikki's imagination takes over as she struggles with her own identity and unable to tell the difference between her new role and reality.
Known for his inventiveness and wicked sense of humour, there was a time, in Lynch's career that he adopted a particular approach to his storytelling that involved surrealism and dream logic. These approaches initially featured sparingly but they arguably became more prominent with Twin Peaks: Fire Walk With Me or, to a greater extent, Lost Highway and Mulholland Drive with particular attention to symbolism and metamorphosis. INLAND EMPIRE has much in common with the latter two and as difficult and perplexing as these films were, they still had answers to be found within - with some effort, their puzzles could be solved. INLAND EMPIRE, on the other hand, is a very different beast and probably the most challenging film in Lynch's oeuvre. I have to put my hands up and admit defeat. I couldn't entirely grasp what Lynch was going for here. I have ideas but eventually I had to make peace with the film and just go along with the mystery and the confusion and revel in Lynch's mastery at mood and composition.
At 3 hours long it's quite the commitment and demands the utmost concentration. This is an unforgiving film experience that will not accept anything less than a viewers full commitment and if you're not up for that, then forget it. I'd also add that this is a film that's strictly for Lynch enthusiasts. Naysayers and doubters need not apply.
Lynch's decision to shoot in low-grade digital video may put many viewers off and it has often been said that the film isn't aesthetically pleasing. It can often look grainy and out of focus but, personally, I thought his intention here was a masterstroke. It allows him to utilise his low-lighting mood and gives the film a more personal vibe with the events and characters feeling much more authentic. So much so, that it only adds to what is already a deeply disturbing and unsettling experience.
It's been admitted by Lynch that he began this movie as an experiment and over the period of three years he would film certain scenes and images before constructing a narrative. Shooting began when he didn't have a script in place but the more he shot, the more the film grew and his ideas merged into something. Many, if not all, viewers will still wonder what he has came up with as this is a film that's so abstract and surreal that it could easily be written off as self-indulgent and pretentious. You could also say, that certain scenes and events don't make sense at all and Lynch is throwing what he can at the screen just to see what sticks. There's no doubt that it's a difficult film to determine meaning from but I also find it difficult to accept that it's accidental. There's a spiritual and existential angle to the film which may or may not be about our main character being in a state of purgatory and going through some form of spiritual cleansing. There's a central theme that can just about be grasped but trying to make sense of the Rabbits sitcom (with out-of-synch laugh tracks), the prostitutes dancing The Locomotion or crazy clown faces are just some of the more bizarre inclusions.
The first hour is actually fairly coherent and easy to follow but it's in the second third that the narrative changes perspective and, quite frankly, baffles the shit the out of you. It's very difficult to keep up but this is because the time frame and the characters shift and you're left unsure as to what and whom is doing what and unable to tell the difference between fantasy and reality. At one point Dern even utters the words... "I don't know what was before or after. I don't know what happened first and it's kinda laid a mindfuck on me". Not only will you identify with this feeling but it's a reminder on how the film should be viewed. Any chance of piecing the mystery together has to be done by shuffling the events and characters and approaching the film from a non-linear perspective.
Lynch has often toyed with alternate realities, dream states and doppelgänger's and INLAND EMPIRE feels very much like the evil twin to Mulholland Drive. They share similar themes and commentaries on the nature of Hollywood and stardom but for as dark and disturbing as Mulholland Drive was, INLAND EMPIRE takes it much further. This is a truly nightmarish depiction of fractured psyche's and shattered dreams.
Like Naomi Watts in Mulholland Drive, Laura Dern is front and centre and delivers an outstanding central performance. This an actress I've had a few questions about over time but there really isn't any fault in her superlative work here. She has to play around with several roles and she's entirely committed and convincing in all of them. That said, even Dern and the rest of the cast admitted that they had no idea what the film itself is about. Maybe that's the point. Lynch did, after all, admit that it was an experiment and maybe the fault lies with the viewer for thinking otherwise. In this case, I just accepted the journey as the reward.
One of the most challenging and exhausting films I've ever seen. Whether or not you make sense of it, doesn't take away from the fact that you've witnessed an artist at work and been thrust into an intriguing mystery that has the utmost refusal to be solved. If this proves to be Lynch's last film (and I sincerely hope it's not) then he bows out with the ultimate head-fuck. He's most definitely an acquired taste. If you don't like him?... You should acquire some taste.
A nightmare from the mind of David Lynch. Inland Empire is his most disjointed and fragmented which also makes it the most dreamlike. His startling images instantly strike different emotions in viewers. At 3 hours long, this surreal masterwork is not an easy watch and can be a frustrating one but can be a rewarding one if in the right mindset. Laura Dern puts in a brave performance in the leading role.
I am sad to say i could not make it through 'Inland Empire'. I don't understand David Lynch's use of dream-like imagery. I was lost in the story, an found the film way too creepy and unentertaining. Typical Lynch fans may find plenty to love, but everyone else should stay as far away from this one as possible.
I simply can't stand this movie. David Lynch has his moments for me (namely "Blue Velvet" and "Mulholland Dr") but "Inland Empire" is his most self indulgent and utterly meaningless film to date. Laura Dern is shockingly committed to this material, turning in one truly bizarre performance. No matter what Lynch says (or does not say) about the picture, "Inland Empire" is meaningless and the exact definition of artistic masturbation. (And believe me, I have given this film more chances that it deserves. I sat through it 3 times.)
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