New York Times - 10/06/2006
"Mr. Lynch's latest cinematic head trip is certainly the biggest mind-blower.....INLAND EMPIRE is his most experimental feature since ERASERHEAD."
Box Office - 12/01/2006
"There's considerable overlap with MULHOLLAND DRIVE. Parallel worlds are created....There's a meaningful pattern beneath it..."
Rolling Stone - 12/14/2006 3.5 stars out of 4 -- "David Lunch drops Laura Dern into his twisted wonderland and creates the head trip of the year....INLAND EMPIRE is arguably his most ambitious mind-bender yet..."
Premiere - 01/01/2007
Included in Premiere's "10 Best Movies Of The Year" -- "[A] 100-proof work..."
Film Comment - 01/01/2007 Ranked #10 in Film Comment's "20 Best Films Of 2006."
Total Film - 04/01/2007 4 stars out of 5 -- "Lynch's obsessions simultaneously demand and defy interpretation. A captivating, baffling nightmare-puzzle."
Sight and Sound - 04/01/2007
"[E]xplosive and fascinating....It's one of the rare films that teaches you -- obliquely -- how to watch it."
Uncut - 09/01/2007 3 stars out of 5 -- "INLAND EMPIRE is creepy and surreal....A film that demands to be seen."
Empire - 09/01/2007 4 stars out of 5 -- "Despite his reputation as an arty filmmaker, Lynch's characters are often as colorful and silly as any from a comic-book flick."
With INLAND EMPIRE, David Lynch--creator of such mind-bending works as ERASERHEAD and LOST HIGHWAY--delivers his most avant-garde, abstract, and impenetrable vision yet. A three-hour fever nightmare of a motion picture, INLAND EMPIRE takes the basic structure of Lynch's 2001 masterpiece, MULHOLLAND DRIVE, and spins it even further out of control. A blonde actress (Laura Dern) is preparing for her biggest role yet, but when she finds herself falling for her co-star (Justin Theroux), she realizes that her life is beginning to mimic the fictional film that they're shooting. Adding to her confusion is the revelation that the current film is a remake of a doomed Polish production, 47, which was never finished due to an unspeakable tragedy. And that's the only the beginning. Soon, a seemingly endless onslaught of indescribably bizarre situations flashes across the screen: a sitcom featuring humans in bunny suits, a parallel story set in a wintry Poland, a houseful of dancing streetwalkers, screwdrivers in stomachs, menacing Polish carnies, and much, much more. By the time the film's electrifying closing-credit sequence arrives, even diehard Lynch fans will be gasping for air. What most glaringly differentiates INLAND EMPIRE from Lynch's previous work is the format on which it was shot. This is the first time that he has chosen to shoot on digital video, as opposed to film, and while the decision is jarring at first, the grainy imagery nonetheless casts a creepy, haunting spell. Laura Dern's multi-fractured performance is downright heroic. She gives the film the human grounding that it so desperately needs. Not for the fragile or timid, INLAND EMPIRE is a full-blown assault to the senses.
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