Lost Highway: a movie review

Take home David Lynch’s neo-noir mindbender and you’ll get:

- a murderous modern fable on the dangerous slide from love to violence;
- a twisted meditation on postmodern anxiety over the individual’s inability to retain ownership over their own memories and internalized identity in the face of modern narrative and media;
- an adolescent abstract of Woman As Inscrutable Object;
- a messy muddle of a story turned inside-out around itself;
- the languorous Patricia Arquette cast as the femme fatale, complete with Barbara Stanwyck’s hairstyle from Double Indemnity;
- a disheveled brunet Bill Pullman doing his very best Kyle MacLachlan impression as the suspicious husband;
- a weirdly intimate glimpse of David Lynch’s own furniture, which was used on the interior set;
- a soundtrack featuring David Bowie, Brian Eno, Lou Reed, Trent Reznor, and a Screamin’ Jay Hawkins song performed by Marilyn Manson;
- a sneaking suspicion that Michael Haneke’s Caché got a flash of inspiration from a scene in Lost Highway;
- a serious case of the creeps from Robert Blake’s indelibly disturbing cameo as The Mystery Man;
- really, really mad at me for suggesting you watch this, whether you love it or hate it.

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