David Lynch's Inland Empire (Limited Edition Two-Disc Set)
by David Lynch
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Actor: Jeremy Irons, Justin Theroux, Laura DernDirector: David Lynch
Brand: Inland
DVD: Region Code 1
Audio: English (Original Language); Polish (Original Language); French (Original Language)
Format: Color, DVD-Video, NTSC
Picture Format: 1.78:1
Running Time: 179 minutes
DVD Release Date: 2007-08-14
Audience Rating: R (Restricted)
Studio: Absurda / Rhino
DVD Reviews of David Lynch's Inland Empire (Limited Edition Two-Disc Set)
DVD Review: 3 HOURS OF RANDOM BORINGNESS
Summary: 1 Stars
It took me 3 weeks or more to watch this movie. I got it based in fact that it was done by David Lynch who had directed alot of amazing films especially eraserhead. Dont watch this unless you an "art wanker".DVD Review: Home of know-one
Summary: 4 Stars
This is Lynch at his most (un)conventionally, and editorially, slack.
Filled with profound, gestating, quivering rhythms, the film's embryonic-shock psychological state only reaches fever pitch with the aid of Laura Dern's come-with-me performance. She is the banal seductress who is both guide and mesmerizing Medusa figure, always ready to blow us away into the status of total, raw, informatic ambiguity, rendered as a staticy state-of-mind propelled by images and sounds of a charged, post-modern era. The shock of the new (HDTV) is the stank of the old (Polish gangsters and primal violence-a scratchy eastern Europe netherworld reachable only by scribbles and bits.)
It's worth noting that the final hour is where the film really comes alive; deviously dove-tailing down Hollywood Blvd. Lynch finds his curious friends a cryptic chorus-line that could easily be what is out-in-front of "Twin Peaks: Fire Walk with Me"'s conveniance store. Here, Dern's born-again is aborted again (a mature modulation of "Wild At Heart." Hollywood Blvd. as cesspool of dreams rises like a Phoenix from the ashes of a full (blue) color remake of the fanciful and grotesque phallic fun-land (replete with maze-like corridors and distorting mirrors ((Lynch's grandest, hallmark trope)) that is the final celluloid orgasm at the end of "Eraserhead."
DVD Review: Longer and more layered than previous movies
Summary: 3 Stars
Since finishing Mulholland Drive, Lynch has been releasing short film projects on the internet and discovering the joys of digital camcorders. The "standard definition" resolution that he uses here produces a horribly grainy, gloomy image that looks like a home movie. However, the use of such a cheap and small camera permits Lynch to make a movie more reflexively than ever before.
Inland Empire was never scripted. Lynch supposedly wrote out each scene moments before filming it, with the details of the plot only arising intuitively as time went on. The plotting is absolutely labyrinthine, even compared with already-Byzantine works like Lost Highway and Mulholland Drive. Although Inland Empire seemed absolutely meaningless to me on the first viewing, after the second viewing I had worked out the basics of the plot, confirmed later when I read other people's guesswork.
Inland Empire, like Mulholland Drive, treats Hollywood as a great empire of mediocrity, quashing the mystery of genuine creativity in favour of a jellybean superficiality. Nikki, an actress past her prime is desperately worried about falling out of the Hollywood system and is delighted to land a major role that is destined to revitalise her career. She is less thrilled when she hears that the movie is a remake of an unfinished German movie said to have been cursed.
The movie takes a left turn one third of the way in, with the actress finding that she is partially living in the movie she is supposed to be acting in. The initially plush and wealthy false reality slowly degrades over time, so eventually she becomes an LA prostitute, spat out of the Inland Empire that promised so much. The curse has almost crushed her.
However, she discovers that the curse on the movie revolves around the mysterious Phantom, who has entrapped the Polish actress from the unfinished remake of the movie. Nikki ascends a dark staircase, shoots the Phantom four times, and releases the trapped soul.
That is the basic outline of the story, though there are many nuances that there is no room to discuss here. The most memorable image of the movie, the dying Phantom with Nikki's distorted face superimposed, is a shot of unparalleled horror.
The movie, however, is too gloomy (even more so than Lost Highway), meandering and self-indulgently strange for my tastes. Inland Empire is not a case of a relatively simplistic story that has been made unnecessarily complex by self-indulgence. It could not be simplified without losing much of its flavour. However, that flavour is simply something I don't want to taste. Watch Mulholland Drive for something more polished and (to me) more satisfying.
DVD Review: From Hollywood, where dreams make stars and stars make dreams !
Summary: 5 Stars
Since Alain Resnais and Roman Polanski, no other director has dealt with such delirious commitment the frenetic obsessions, the worlds bellow other worlds, the dream covering other dreams, with such brilliant resolutions than David Lynch.
He had bet previously for other films with narrow resemblances such as Mulholland Drive. Once again, Lynch returns to the field in which is a king. The inner demons of the human being, the sharp game of metaphors, narrative ellipsis, sinister nightmares that happen in the most bizarre stages, keeping as superb landscape the main factory of dreams around the world: Hollywood.
A young and talented actress is hired to play the main role into a filmic project that never was finished due weird circumstances. She is in love with his husband but she hides a dark background; a terrible secret and this magisterial script blends the bitter and unsaid reality, the fiction of the very script and the enigmatic presence of an old woman who meets herself as a neighbor, gifted of dark visions.
Lynch really involves us onto this complex web of livings, fears, obsessions and unsolved traumas, mixing them with glamour, sophistication, pink tunes, dances, acidic humor and sinister hallucinations where the big screen overtly works out as a huge mirror where she as actress may be seen herself from the spectator's hall.
An intelligent and engaging visual tour de force, where everything fits admirably. The superb illumination, the arresting stages, the handle of camera and the way he employs Hollywood Boulevard not precisely as a gentle postcard, really deserve the best epithets as one of the greatest artistic American achievements of this raising century.
DVD Review: The closest film will ever get to pure art.
Summary: 5 Stars
The more times you watch this film, the easier you will recall dialogue that at first seemed random. The repetition of sentences and images is no mere coincidence. Do not dismiss any word or image as superfluous. If you formulate your own theory as to what the plot is about, the movie will play out exactly to that, and will make perfect sense to you.
Imagine your average film is a road that takes you from A to B. INLAND EMPIRE is a cube with roads on every side, and you are traveling through the entire alphabet, though not in it's original order...
GIVE THIS FILM A GO, BUT ONLY IF IT"S MORE THAN ONCE.
Description of David Lynch's Inland Empire (Limited Edition Two-Disc Set)
A magikael, fairy dusted ride through the darkest realms of our collective imaginations. Terrifying!Though Inland Empire's three hours of befuddling abstraction could try the patience of the most devoted David Lynch fan, its aim to reinvigorate the Lynch-ian symbolic order is ambitious, not to mention visually arresting. The director's archetypes recognizable from previous movies once again construct the film's inherent logic, but with a new twist. Sets vibrate between the contemporary and a 1950s alternate universe crammed with dim lamps, long hallways, mysterious doors, sparsely furnished rooms and, this time, a vortex/apartment/sitcom set where rabbit-masked humans dwell, and a Polish town where women are abused and killed. Instead of speaking backwards, mystic soothsayers and criminals speak Polish. Filmed on video, the film's look has the sinister, frightening feel of a Mark Savage film or a bootlegged snuff movie. Constant close-ups, both in and out of focus, make Inland Empire feel as if a stalker covertly filmed it. A straightforward, hokey plot unravels during the first third of Inland Empire to ground the viewer before a dive off the deep end. Actor Nikki Grace (Laura Dern) is cast as Susan Blue, an adulterous white trash Southerner, in a film that mimics too closely her actual life with an overbearingly jealous and dangerous husband. When Nikki and co-star Devon (Justin Theroux) learn that the cursed film project was earlier abandoned when its stars were murdered, the pair lose their grasp of reality. Nikki suffers a schizophrenic identity switch to Sue that lasts until nearly the film's end. Suspense builds as Nikki's alter ego sleuths her way through surreal situations to discover her killer, culminating in Sue's gnarly death on set. Sue's actions drag on because any sign of a narrative thread disappears due to idiosyncratic editing. Nonsensical scenes still captivate, however, such as when Sue stumbles onto the soundstage where she finds Nikki (herself) rehearsing for Sue's part. In this meta-film about identity slippage, Dern's multiple characters remind one of how a victim can become the hunter in their fight for survival. Lynch's portrayal of Nikki/Sue's increasing paranoia is, in its own confusion, utterly realistic. Laura Dern has created her own Lady Macbeth, undone by her guilt over infidelity. Even though Inland Empire is too long and too random, Laura Dern's performance coupled with Lynch's video experiments make it magical. --Trinie Dalton
More Films from David Lynch
 Wild At Heart |  Mulholland Drive |  Blue Velvet |
Stills from Inland Empire (click for larger image)
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