Lost Highway - Movie Reviews - Rotten Tomatoes

Lost Highway Reviews

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October 9, 2017
Time has been kind to David Lynch's impenetrable noir puzzler. Only Lynch could tell you what's going on here: is it the cathartic breakdown of a man whose sexual paranoia is giving him hallucinations? A jazzy riff on themes from 40s films noirs? Whatever, it's intriguing, well acted, strange, well photographed and lent menace by Lynch's sound design and Angelo Badalamenti's creepy score. Don't analyse - surrender.
September 22, 2017
Another surreal David Lynch vehicle; Lost Highway is more of a stylish Hollywood art piece than a typical narrative film. For people who understand David Lynch's filmmaking motivations and recurring motifs, Lost Highway is perfect in many ways, but on the surface it's that head scratching night terror you had once where you weren't really yourself and you may have murdered someone but you'll never know for sure what the dream meant.
½ September 12, 2017
L'ottima atmosfera che si viene a creare non compensa una storia troppo articolare e pressoché incomprensibile con una sola visione. Le due trame intrecciate sono un'idea davvero interessante, ma vengono sfruttate male, naufragando in un film senza filo logico e senza una morale. Le immagini e la regia in generale restano comunque a livelli altissimi, con scene inquietanti ai limiti dell'horror. Un thriller che funziona solo per metà, immagini stupende ma con una narrazione scadente.
½ September 8, 2017
One of the ultimate works of film-art. This beautifully constructed sense of unease makes you feel a little bit crazy. The body-switching, strange visitors, and other Lynchian motifs are perfectly aligned in their most pure expression here. This is a crazy movie and I love it.
July 11, 2017
"In the East, the Far East, when a person is sentenced to death, they're sent to a place where they can't escape, never knowing when an executioner may step up behind them, and fire a bullet into the back of their head."

Lost Highway is a haunting, often confusing, look at madness, loss of identity, insecurities, and the purgatories we create for ourselves. Lynch wrote this script, with the intent of confusing the audience, and it certainly shows. The films first 45 minutes are normal enough, if a bit odd, but after an unexpected murder, we are fully into a complete Lynchian nightmare, complete with parallel story lines, symbolism, scenes that come out of nowhere, and great use of color. All wonderful things that only David Lynch can do so well. There are few directors that can make something that sounds so absurd, something that was meant to sound confusing, and nearly incomprehensible on paper, and turn it into a expansive, chilling, thought provoking nightmare. Not everything makes sense, but that's the beauty of Lynch. There's never really a completely correct answer.
It's sometimes too self indulgent, and irritating at times, but it's still definitely worth every Lynch fans time.
July 2, 2017
A surreal intriguing tale in Lynch style a film that you can't keep your eyes off of.
½ July 1, 2017
To some extent a very stripped down version of Blue Velvet, It bridges the gap between old and new Lynch well, but lacks the depth of his better work.
½ June 27, 2017
Great movie. For those unfamiliar with Lynch's love of the surreal, this may be a frustrating film to try and watch and comprehend, but for those who know what he promises in his films, this is a thrilling, bizarre, beautiful film to watch that features trippy visuals, phenomenal style and great performances from its cast, especially Pullman, Arquette, Getty and Blake.
May 30, 2017
An intriguing film noir that is a nightmare journey through one man's mind--he even says in the film that things are as he remembers them and not as they actually were, whichh set us up for this journey through one man's mind. Beautifully shot and well acted, it is a real treat for those who like Lynch films.
½ April 3, 2017
very well crafted psychological thriller mystery.
February 18, 2017
A must see for all Lynch fans. The MK2 BluRay version is far superior to the DVD cut. Time is ripe for David Lynch to resume his masterful craft.
January 15, 2017
A classic Lynch film. Could be my favorite
½ December 23, 2016
A transitional film for Lynch ... kind of the bridge between "Twin Peaks" and "Mulholland Dr.". It's a film that confounds many viewers because Lynch is essentially making a fantasy film without including any of the genre markers that flag a film as such for the viewer. Hence, many viewers refuse to accept a fairly straightforward and literal interpretation of the film and seek some deeper symbolic meaning that isn't really there. It's quite literally about a guy who cannot accept the ugly truth about himself so he alters reality to accommodate his self image.
December 14, 2016
Lost Highway is with the 1974 Texas Chainsaw Massacre the creepiest movie I've seen. It's bizarre from the first Second until the very End. And it's also Lynch's most aesthetic movie.
½ September 1, 2016
Lynch's underrated masterpiece.Tour De Force through wild, angry and infinite imagination
Super Reviewer
½ August 26, 2016
Despite appearances, this is arguably one of Lynch's more straightforward movies with the dual narrative seeking to expose the dangers and limits of male fantasy. Some of Lynch's most haunting and unsettling imagery is on display here.
August 23, 2016
I went to the cinema with no expectations and I was simply blown away. The movie asks you to suspend reality checks and be hauled into a storm of senses and symbols. Lynch is in a sense the American Fellini.
August 23, 2016
The best Film Noir ever. Heck, this is the best film ever, full stop! Lynch manages to explore the inner most depths of the human mind like no other, producing films that- like good poems- need to be read over and over again in order to gain a true appreciation. In this particular tour de force, Lynch explores issues central to the Noir genre: female sexuality, the idea of the femme fatale, the desire for men to control their worlds and the paranoia that they develop when they perceive that women are essentially out of their control. As with Mulholland Drive, Lynch disorientates the viewer, a technique that serves to place the audience within the disturbed mind of the movie's anti-hero, whose perception of reality has become clouded by his uncontrollable paranoia.

Fred Madison: I like to remember things my own way.
Ed: What do you mean by that?
Fred Madison: How I remembered them. Not necessarily the way they happened.

This is a film that I never tire of watching.
Super Reviewer
½ August 16, 2016
"l like to remember things my own way"

Whenever you approach a David Lynch film, you really have to be prepared for a surrealistic, mind-boggling challenge. His films rarely come as an easy pass to answers or entertainment and can even frustrate to the point of absolute bewilderment. Lost Highway is no different and ranks alongside Inland Empire as, probably, Lynch's most difficult film to date.

Jazz saxophonist Fred Madison (Bill Pullman) awakes one morning to find a video tape lying on his doorstep. He and his wife Renee (Patricia Arquette) watch the tape only to find that someone has been filming the inside of their house. The tapes appear with increasing regularity, each time revealing more and more footage. This only adds to Fred's suspicions of his wife and her friendships outwith their marriage. Not before long Fred is drawn into a labyrinthine plot with a Mystery Man (Robert Blake), ferocious gangster Mr. Eddy (Robert Loggia), pornography, murder and teenage mechanic Pete Dayton (Balthazar Getty) who may, or may not, be involved.

Working on the script alongside his Wild At Heart author Barry Gifford, Lynch crafts an experience that truly is a hallucinatory nightmare and one of the most effective horrors I've ever seen. It's a great combination of noir and horror with shady characters, femme fatales and downright freakish oddities and there's an ambience that's classic Lynch with his very unsettling and minimalist approach. The man can craft sinister from absolutely nothing; bare lamps, shadows and vacant spaces speak volumes and he's aided considerably by - regular collaborators - Angelo Badalamenti's foreboding score and Peter Deming's hugely effective cinematography (which was supposedly shot in one of Lynch's own L.A. homes).

Some critics have been harsh on Lost Highway, claiming that it's self-indulgent and lacks depth but it's one of those films where you really have to pay attention. Even the minutest detail can be so important to unraveling the mystery.

It's a film of two halves and the trick is in trying to piece the two to make a complete whole. The first half of the film is fairly linear but in the second, a metamorphosis takes place that really is a bizarre and confounding plot twist. From that moment on, nothing is as it seems and it just gets weirder and weirder. Only Lynch can get away with this kind of mind fuck. And get away with it he does. It's a hugely involving and complex piece of work. So much so, that you actually question whether you're intelligent enough to understand it at all.

Is there a point? Who knows for sure. I have my theories as I'm sure many others do but the beauty in this film is that it's a transcendental piece of art. Does there need to be a point or is it like all other great art, whereby you interpret the voids for yourself. The voids where the artist isn't readily giving you clarity. How it affects each viewer will, no doubt, be different and unique and there's not many filmmaker's or artists out there can still achieve such an impact.

If you're reading this review, looking for definitive answers, then you're looking in the wrong place. If I did offer my answers to the conundrum, it would only rob you of your own experience. And anyway, like all great works of art, you already have the answers. The answers that make sense to you. They're not mine, they're not anybody else's, they're yours. And that's what I love about this filmmaker. There's no-one quite like David Lynch and his idiosyncratic genius.

One things for sure, it explores the themes of sexual insecurity and paranoia but when it operates on a metaphysical level that's when things get very challenging. You could view it from a schizophrenic angle, it could be an alternate reality, an underworld purgatory or you could be trying to interpret dream hallucinations and suppressed memories. It could be many things and although I have settled on a particular meaning, my reasoning could be entirely different to another's. Put simply, it's open to interpretation and will depend on each and every individual viewer and what they bring to the experience themselves. You just have to open yourself up and embrace it. And therein lies the art.

You could argue that this is Lynch's most cerebrally nihilistic film to date and a variation on the same themes explored in Mulholland Drive and Inland Empire. Like those films, I have seen it many times and each time I manage to decipher another piece of the puzzle. For years, I couldn't make heads nor tales of it but I now have a better grasp on what (I think) it's all about. However, trying to work it out is not in the slightest bit easy. All I know, is that I love the experience each and every time and sometimes I even question why.

Mark Walker
½ July 15, 2016
This is pure Lynch. If you love Blue Velvet or Mulholland you will love this movie.
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