Am i the only one who thinks........Average?

A different way of telling a story

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

My 6th Lynch film. I think was his best. Most clear expression of his world/thoughts/feelings. For me art is about expressing what's up in your mind/your emotions, from that perspective this seems really good. Nice pictures, beatific atmosphere, and admittedly a unique movie. Keep it uppp

This review contains spoilers.Lost Highway is directed by David Lynch. The movie is a mystery centered on a man that attempts to solve how he is being filmed by a mysterious man. The movie culminates with his significant other being killed and his arrest. However, the movie then takes a turn as he morphs into another identity. As he goes to his new life, similar patterns emerge and he is once again on the run.Lost Highway demands much from the audience. For one it is not easy to understand. The plot can appear convoluted and nonsensical at first glance. The movie does not hold the audience's hand as events unfold. Images may appear to the audience that they may not understand initially, however I would recommend that the audience be patient with how the movie is presented. The movie is richer for not giving out the answer to the mystery. It is also best to explore the psychological nature of this movie and allow yourself to for your own conclusion. David Lynch did an admirable job with his budget. I felt that every scene went as well as it could have. Although the low budget is apparent, it does not detract from the experience.Lost Highway is incredibly difficult to recommend as I feel it does much to prevent immediate audience engagement. The audience must be incredibly patient in order to enjoy the movie and to get the most out of it. I would recommend Lost Highway to any audience member that is willing to spend time with a unique story.

"We've met before, haven't we..."Chilling words from a stranger...made even more chilling thanks to the smiling, devilish performance from Robert Blake who plays the horrifying Mystery Man, a major piece to the brilliant puzzle that is "Lost Higway"."Highway" is one of Lynch's most accessible surrealist works, but that does not mean it is not at all challenging or mindbending or experimental, it has all of those elements firmly in place and more. It is a wild, entertaining, and enigmatic ride powered by a storm of engaging twists, dark plots, and unique visuals. The lighting gives it a glossy, exaggerated look, almost as if it were some kind of cross between a whimsical fantasy and stylized hard boil detective flick, but it is neither of these things. What is it, you may ask? It is a David Lynch film, I will respond. And that is all you need to know.It is scary and brilliant and dark, it embraces speculation and analysis while also remaining coherent, its story and characters are enough to keep the viewer engaged; the more difficult riddles and metaphors are interwoven with action and music and horror and drama, it's a non stop rocket ride through Hell, it's a plunge into the darkness of death, that everlasting, unwinding road with the power to mesmerize, confuse, and frighten. The way I see it, the film can be split into three lose parts. Part one is pure Lynchian surrealism, it is deliberately slow and yet it still keeps the viewer on the edge of their seat, always anticipating the next move a character may take, the next dramatic shift in the story. Its atmosphere is one of absolute dread and unbearable if often unexplained tension, it is Lynch doing what he does best. The second part speeds things up a bit. Sexy, funny, fast paced, and bizarre, it's easily the most digestible and coherent part of the movie, encapsulating the mood of a film noir and a 90's crime thriller peppered with heavy doses of the surreal...and it steadily inclines into the third half, where things get really weird. It's a cross between the surrealistic, blood curdling, mind blowing horror of the first half and the fun, exciting weirdness of the second, culminating in one huge avant garde masterpiece work watching over and over and over again, allowing that vision of the infinite highway to swallow whatever is left of your soul and haunt your nights for all the years to come...

Inevitably viewers, on seeing LOST HIGHWAY for the first time, might ask what on earth is happening; or perhaps try to look for symbols in order to decode what director David Lynch has to say about contemporary American - specifically Californian - society.Perhaps it might be better to approach the film on its own terms as a meditation on the fluidity of identity, where Fred Madison (Bill Pullman) is sentenced to death in the electric chair for the murder of his wife Renee (Patricia Arquette), and subsequently morphs into Pete Dayton (Balthazar Getty), who becomes involved with Alice Wakefield (also played by Arquette) and mobster Ed (Louis Eppolito). As the action unfolds, Alice morphs into Renee. Throughout the action a mysterious presence lurks, with a whitened face and forbidding air (Robert Blake); he ostensibly works for Ed, but he seems to be able to penetrate even the most private spaces.Lynch has chosen the most commonplace names for his two male characters to emphasize their ordinariness; they could be anyone we encounter in our daily lives. Nonetheless what happens within their imaginations is very different from their quotidian behaviors; they are both tortured souls either unable or unwilling to conquer the wild and often horrific promptings of their unconscious minds. Renee appears to be dead; but then she mysteriously resurfaces later on in the film. Alice at one point tells Pete "You will never have me," suggesting a male desire for possession that will never take place in a dystopian world.The "Lost Highway" of the title is frequently shown in point of view shot, as a vehicle travels up a deserted road at night, with only the road markings visible. This might be both physical as well as mental; a metaphor of the male protagonists' diseased minds as well as a representation of just how threatening a landscape can be, especially at night when there are no lights to illuminate the street.LOST HIGHWAY is the kind of movie that consciously resists interpretation, and justifiably so. It requires considerable attention on the viewers' part, not only to appreciate the subtleties of director Lynch's directorial technique, but to decode what is happening in a series of visually complicated sequences. It is the kind of film that demands repeated viewings - not necessary to "understand" it better, but to appreciate just how carefully Lynch constructs it.