Mulholland Drive

As a series, it might not be bad. Yet as a standalone film, it rides the wave of films with unreliable narrators, and that perpetual dreamlike atmosphere and the combination of Lynch and his favorite films just makes for a new collage. However, the latent Sapphic themes and the crush on the Paramount gate are elements I’m always interested in. (2016-10-23)

I didn't, and probably never will, fully understand. After the completely direct and purposefully comprehensible Elephant Man, I saw David Lynch's second feature film, which completely breaks boundaries in terms of the level of comprehensibility. The first two-thirds were somewhat interpretable, but the last twenty minutes completely reversed all my thought processes, and it was only at the last word "Silencio!" I said: "Oh shit!". I've never been so confused and conflicted, and in fact this may have been one of the director's intentions. Why explain everything at the end, when the viewer at least has something to think about. All in all, a very weighty film that, along with the premise, excels in the acting and the wonderfully gloomy and mysterious music. (2011-10-27)

Brilliantly told...... hypnotic. Once I figure out exactly what the poet was trying to say, I'll pack my bags, drive to LA, and tap a celebratory keg on Mulholland Drive in Lynch's honour, but until then I'll just have a few beers to celebrate a disarming cinematic puzzle that harbours big ideas and never before seen narrative mastery, though it perhaps unnecessarily stretches out the action in the first two acts and delays the final big bang, during which I shuddered even at parts whose inflection is entirely inappropriate for this database, and I was already grasping for potential explanations, only to be outwitted again by Lynch, who has done something that only Jindra Petáková and her high school maths textbook have so far managed to do: weld my brain and condemn me to a grade between 4 and zero. I'll give it a four this time, because I admire the flamboyant command of attention on the level of so many characters, which turns out in the end to be so gripping and mutually motivated, and I'm looking forward to the second viewing, from which I'm already promising myself pure five-star ecstasy over the hypnotic cinematography, the music, the breasts of Watts and Harring, and of course the story, which has something to say, even though it utters it only in unknowns. I'm really eager to figure out how everything works, and with that David has clearly done his bit... 85% (2012-10-25)

I can't help it, but I guess I've seen too many Lynch films in too short of a time, which leads to the fact that I don't like "Mulholland Drive" as much as I could. But when I watch this film, I see elements from all of Lynch's previous works that he has directed. There is something from "Twin Peaks", there is something from "Lost Highway", from "Blue Velvet" and also a certain intensity from "Wild at Heart". It's great that Lynch maintains his style, that it's still him, but his mind games are rather painful for me. The craziest thing is that there are people here trying to analyze the film with the belief that there is a clear explanation of what we're watching. With Lynch's films (especially the recent ones, except for "The Straight Story"), there is simply no key. It's not about understanding what the director meant, but simply taking something from the film, finding your own path, but not expecting that yours is the only correct one. Lynch is brilliant in this respect, but he is also repetitive in this aspect. (2014-03-19)

A psycho(il)logical and strange picture that is hard to grasp... So, in fact, the type of classic that we are used to getting from Lynch. If it had ended twenty minutes earlier, this would have been maybe the most graspable Lynch movie ever, but at that moment is breaks into the most bizarre movie ever. Lynch on his best film-making (not series-making!) form. (2012-05-12)