![]() (I still argue that Mulholland Drive is an exercise of letting the story tell itself, regardless of sense. Certain plot points need to happen, so Lynch can't just wing the story like he does with a lot of his other films. But he does have to serve a basic narrative. ![]() The question I have to ask is, did he come up with those rules or did it come from the novel that he is adapting. Like I said, Lynch gives us a set of rules for how weird things are allowed to get in the first twenty minutes. I have to watch the movie for my own enjoyment at a certain point. "But, Tim," you may ask, "shouldn't you have an appreciation for him?" I'm very much in a "shut up" mood. But what is lost with that romantic notion is that if you make a movie that only you will like, you can't be mad at others for not liking it. It is a romantic attitude, knowing that you are making something that only you will like. There's something admirable, if not a little simplistic, about making a movie for yourself. But the rules are there for the audience. If you are truly weird, you shouldn't need to establish rules. I think the reason it works for me is that, while it is still very weird, it establishes its rules for weirdness early on. There's something there that I haven't seen in a lot of his other movies. He's still David Lynch and golly if he isn't going to try to play by his old bag of tricks. If you decide to stop reading here, you can do so. Yeah, I'm just putting that out there early. I've pretty much panned every one of Lynch's movies, but this one gets a decent review from me. ![]() I think I have more David Lynch and George Lucas reviewed on this blog than any other director, and neither is particularly close to my heart. I don't know if this will ever get discussed on the podcast, but I watched it for the podcast. ![]() Of course this movie is going to be R, because he can't tell a story without perving it out as much as he can. I've said it once I've said it a thousand times. ![]()
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