When Lynch announced that he was making a new film, starring Laura Dern, shot only on a digital camera, all he said was that it’s ‘about a woman in trouble.’  I think it’s fairly safe to say that they statement describes all his movies.  And while that statement seems vague, it’s really the only thing he could have said without going into an intense description of the three hour film since it’s so complex, and confusing.  Remember the last half of Mulholland Dr.?  Well picture that, it’s just as challenging and exhilarating, but there are three hours of it.  Laura Dern stars as Nikki Grace and Susan Blue.  The former is a woman who’s loosing touch with reality slowly, but surely.  She’s chosen to star in a film adaptation of Polish folktale that is supposedly cursed.  Although she’s married to a dangerously jealous Pole, she starts an intense affair with her co-star Devon (played by Justin Theroux…who also plays Billy Side in this film).

It may take some a while to get used to the grainy quality of the digital camera.  Some call Lynch pretentious for choosing to film digitally, but he’s stated upfront that he can’t get away with filming as much stuff as he does on old school film, the studios won’t pay for it.  I’m completely willing to accept this explanation.  Pretensions aside however, this piece is one of the more inaccessible pieces in Lynch’s oeuvre.  Parts of the movie focus on a crying prostitute in a hotel room, watching a sit-com played by humans in rabbits suits.  The rabbits are dressed up as humans, and speak to each other in sentences that make sense, but as part of conversation that is completely incomprehensible, with a laugh track that sounds off at random moments (how alienating is that?).

As per usual Lynchian style, the film is accompanied by an intricate, and unsettling score that perfectly highlights and underscores the twisted plot.  The cast was exceptional, most of the main players had already worked with Lynch before.  Laura Dern is the shit in this film, showing off her acting prowess, as the role demanded an emotional range that few attempt, and even fewer pull off.  Theroux also excelled, and was effectively creepy.  Like most of Lynch’s films, you’re lucky if you think you understand it.  Few directors force this much contemplation of their works, forcefully dragging your imagination into such a dark world.  Even if you don’t get Inland Empire, you’ll be glad you spent three hours watching this abstract, surrealist work.

3 out of 4 stars

Rottentomatoes: 69% – Cream of the Crop: 52%

Lula (Laura Dern) and Sailor (Nic Cage) are two reckless, young lovers, bent on spending their days doing the dirty and writhing around the dance floor at heavy metal rock concerts.  Lula’s insane mother Marietta (the completely disturbing Diane Ladd) can’t stand the thought of her innocent darling cohorting with trash like Sailor (I wouldn’t want my kids hanging around Cage either).  Don’t let this fool you into thinking Marietta doesn’t have her own skeletons in the closet.  She may or may not have had a hand in the death of her husband, Lula’s father, and undoubtedly has sent several hitman to kill Sailor.  After killing one of this hitmen, Sailor spends some time in prison.  Lula waits for him until he gets out, and they start a long road trip across the states towards California, coming across all sorts of lunatics, and trying to stay one step ahead of the Marietta’s men that are hot on their trail.

Like Blue Velvet, Wild at Heart is one stylish piece.  So much so, it could put even the best of Guy Ritchie’s movies to shame.  Lynch’s use of colors are so impressionable, the imagery sticks with you long after the credits start rolling.  Fire plays a central theme in the story and Lynch uses it to create strong motifs throughout (striking matches, lighting cigarettes, explosive car crashes, etc., etc.).  Lynch takes pride in the absurdity of his films.  Some of the scenes are so outrageous, you feel like you should be laughing, but social norms dictate you’re not allowed to find humor in such dark subject matter.  Perhaps this was Lynch’s purpose: to completely confuse his audience emotionally.

Lynch adapted the novel by the same name by Barry Gifford, and while the plot occasionally slows to an uncomfortable pace, the eye candy makes up for it.  Also different from Velvet (and I’m not sure to whom I should attribute this, Lynch or Gifford), the dialogue was rich, and interesting, similar to Tarantino’s style, who glories in the words of his film (truth be told, the plot shares a lot with 1993′s True Romance, which Tarantino penned).  The confidence in his directing demands your attention, as if you already owe that much to him for being a genius.  Lynch’s skill in creating dissonance in all things creates a vividly disturbing world; you’ll feel on edge the entire two hours.  As far as I can tell, the single mistake Lynch made while filming, was casting Nic Cage in the leading role.  Watching him try to keep up with Dern, and affecting a Elvis-esque accent and croon (and yes, he did do his own vocals) songs like ‘Love Me Tender,’ and ‘Love Me’ was almost insufferable.  If you can get past this (believe me, it takes some effort) and the violence and sexuality (sometimes mixed together), you’ll once again be impressed with this visionary’s work.

3 out of 4 stars

Rottentomatoes: 65% – Cream of the Crop: 38%

The story follows Jeffrey Beaumont (Kyle MacLachlan), a college student who’s returned from his studies to help out at his father’s hardware store after some sort of incident left the father in the hospital.  While walking to the hospital, he comes across a severed ear, which he turns into to detective John Williams.  Williams asks Jeffrey to keep this discovery on the down low, not to discuss it with anyone.  However, Williams’ daughter Sandy (Laura Dern) starts seeing Jeffrey, and the two decide to investigate the strange goings on.  This leads the two to the apartment of Dorothy Vallens (Isabella Rossellini), and introduces them to her very strange, and complicated situation.

The story, as proclaimed by critics old enough to criticize films in the mid 80s (this excludes me), is a visionary masterpiece about sexual awakening, about the the discovery of good and evil in each of us.  Lynch proves he is a master at his craft with this visually stunning piece.  The viewer is treated to lavish camera shots, incredibly powerful scenes, and subject matter that astounds.  The impressive part of this film is that as the Jeffrey and Sandy get deeper and deeper into things they just shouldn’t be involved in as carefree young adults, Lynch makes you feel their panic.  You too, will feel like you’ve gotten into something far over your head, and you’ll question your choice to watch Blue Velvet, as you quickly realize that you are not in control, that Lynch is calling all the shots.

Many argue that the film exploits Rossellini, as her part requires vast amounts of nudity, and puts her in humiliatingly compromising situations that seem to objectify women.  This is simply not true, and those that feel like they were voyeurs in Lynch’s devious story completely missed the point.  Blue Velvet forces you to think, to make your own conclusions.  While this is a turn off to many, to true cinophiles, this is what film is all about.  Leave your inhibitions at the door, and lose yourself in the glory of this piece.

4 out of 4 stars

Rottentomatoes: 90% – Cream of the Crop: Not enough reviews for a score