- Casino Royale Review
- Carrie (1976)
- Two-Lane Blacktop (1971)
- Trainspotting (1996)
- Rain Man (1988)
- Fatal Attraction (1987)
- Targets (1968)
- An Education (2009)
- Mirror, The (1974)
- Fargo (1996)
- Fight Club (1999)
- Do The Right Thing (1989)
- Report (1967)
- Is "The Sting" The Best Gambling Film Ever Made?
- Pink Flamingos (1972)
- Ox-Bow Incident, The (1943), Or 28 Angry Men
- Rome, Open City (1945)
- Spring in a Small Town (1948)
- Drive (2011)
- Vinyl (1965)
- Seconds (1966)
- Rosemary's Baby (1968)
- A Hollywood Invasion of Casino Halls
- Thin Man, The (1934)
- In The Heat of the Night (1967)
- All In: The Poker Movie, Player’s Best Tricks
- Invasion of the Body Snatchers (1956)
- 1001 Club - Skyfall (2012)
- 1001 Club - When Harry Met Sally... (1988)
- 1001 Club - Rain Man (1988)
Mulholland Drive (2001) *Weird & Wacky*
Intense, hot, Hollywood
Genre: Fantasy Mystery Thriller
Directed By: David Lynch (The Short Films of David Lynch • Blue Velvet)
Overview: A young and naive Canadian actress arrives in L.A. with hopes of fulfilling her dreams of being a star. What she finds in her new apartment is a woman with amnesia and one whopper of a mystery.
Mulholland Drive is just as one would expect from Lynchian Cinema, a surreal mind-bender, but David Lynch has done something superb with Mulholland Drive: he made it mainstream enough to appeal to lesbian-loving jocks while still drawing the French, moustachioed, beret-wearing crowd away from their Chateau Lafite and Truffaut for two and a half hours.
In fact I would recommend Mulholland Drive to 'main-streamers' as one of Lynch's more enjoyable of the nigh-incomprehensible fantasy films he's made. It's a rich mystery that may not answer many questions, though it definitely includes many themes we can easily grasp: Hollywood corruption, interference by producers and their string-pulling secret influencers,and an actress' naïveté quickly undone by the reality that exists under that big white sign of hope.
What makes Mulholland Drive accessible and appealing to the masses is that it's beautiful, violent, and sexy as all get up, and though this, like most Avant-Garde film, has a way of taking the reward out of a story concluded, tied off and understood, David Lynch leaves enough to let people appreciate the time spent in his surreal adventure. For the art-house fans, the unfolding arcane drama combined with an art direction that is rich with moody, suspense-filled shots... what more could anyone ask for? Ok, there's from the ever-well-received moments of lust and confusion and those those moments of unsung perfection like the powerhouse performances of tertiary characters played by Patrick Fischler, the man who recounts his dream at Winkie's and Monty Montgomery, our favourite catalytic cowboy.
A wonderful feature of fantastical Lynchian Cinema is how he gives enough to the audience to allow them to keep trying to pigeonhole meaning, and in this endeavour the mind scrambles to come up with different solutions, to sort meaning from symbols. Avant-Garde has a wonderful way of making you wish everything had an explanation, and who knows, maybe this Internet we bloggers write upon really does hold all the answers of David Lynch's mind and movies, or maybe Tout Paris was merely a book David caught his Production Assistant reading once, but more on her later.
What I love about this film, and Lynch in general, is how one interpretation can work just as well as another. Sure you can cheat and look up an explanation on Google but I have a distinct feeling that David Lynch doesn't make puzzles for you to solve. So I piss on official interpretations and give you mine:
In short, this is the tale of a naïve little Ontarian girl hoping to make it big in the City of Angels and we begin to explore her life through a fantasy, one that takes quite a while to turn into expectation, and finally quickly becomes reality. In that reality even we are lost in the nightmare. A once young and hopeful woman ends up realizing that the warnings and derision of her parents have all come to pass in such a perfect form, leaving her with no options.
I could be totally wrong, and for that, Lynch, I thank you for bringing this sweet mindfuck to our mainstream theaters, and feel free to keep it coming. I love your work. You make me happy… and confused.
Before I sign off, let me offer up one final sorting of potentials, the films' dedicatee, Jennifer Syme. Jennifer was David Lynch's Production Assistant (PA). She also played the part of a 'Junkie Girl' in Lost Highway, and dated Keanu Reeves. This - most likely - Hollywood hopeful was killed when she crashed her Jeep Cherokee late one night heading back to a party at Marilyn Manson's. Nothing else need be said about someone who worked closely with Lynch, a man whose Mulholland Drive begins and enshrouds an entire mystery around a late night inebriated car crash.
Oh, I get it. Witty.
Performance: 9 Cinematography: 9 Script: 8 Plot: 9 Mood: 10
Overall Rating: 90% (And Step On It)
If you like David Lynch's Avant-Garde style, this is a beautiful and strange adventure. More surreal than Blue Velvet, and though ever-present with similar themes as INLAND EMPIRE, it's nowhere near as convoluted. Put Mulholland Drive deep in the mire of the Lost Highway camp of intensely mysterious, absolutely re-watcheable, wondrous surreality.
Man, do I ever need to give David Lynch his own page.