2008 Woodie Awards
Movie Preview: 'Inland Empire'
Lynch abandons film, not great storytelling
By: James Hansen
Issue date: 3/1/07 Section: Reviews
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5 out of 5 stars
In a world full of multiplexes and mainstream independent theaters, David Lynch's new film "Inland Empire" unleashes on every notion of the institution of Hollywood. Distributing it himself to smaller theaters around the country, "Inland Empire" makes its only St. Louis run this week at the Webster University Film Series.
Plot summaries in Lynch films tend to be pointless, but as experimental as it is, "Inland Empire" gives the audience all the threads and thoughts needed for an intense, dark, beautiful and dazzling film experience.
Once the film finally settles down into reality after an incredible opening, a Polish gypsy wanders into the mansion of an actress named Nikki Grace (Laura Dern, in what may be the performance of the decade). The gypsy gives Nikki a prophesy of her upcoming work: when the boy went out in the world to play, evil was born and followed the boy. However, when the girl went out to play, she got lost in the marketplace.
Suddenly, Nikki is in the marketplace working with her ambitious director Kingsley (Jeremy Irons) and co-star Devon (Justin Theroux). Infidelity concerns fly around the set because Devon is known as the biggest womanizer in Hollywood. The concerns wane, however, when Nikki and Devon learn their ridiculously titled film "On High In Blue Tomorrows" is a haunted project that has been shut down before because the two previous leads were killed.
"Inland Empire" sets up this murder/mystery concept, but before long traps us in the world of the studio and the "On High In Blue Tomorrow" set. Nikki and Devon both transform into their characters from the film, Sue and Billy. Kingsley and Devon essentially disappear from the film as Nikki/Sue wander down the different rooms and rabbit holes of the studio system.
The film floats from scene to scene, each one more compelling than the next. There are constant shifts in tone and storytelling and, although "Inland Empire" is three hours long, the film is so free-flowing and compelling that it never feels long. Doors on the set move us from Los Angeles to decrepit audition offices in Poland to the crying Polish woman. And then it takes us back to the home of the rabbits from Lynch's online series, previously accessible only to members of his Web site. Nikki/Sue ends up in the home of a bunch of girls, who may very well be prostitutes. The girls do a rendition of "The Locomotion" before ending up on the dark corner of Hollywood and Vine, where a crime involving a screwdriver is committed.
In a world full of multiplexes and mainstream independent theaters, David Lynch's new film "Inland Empire" unleashes on every notion of the institution of Hollywood. Distributing it himself to smaller theaters around the country, "Inland Empire" makes its only St. Louis run this week at the Webster University Film Series.
Plot summaries in Lynch films tend to be pointless, but as experimental as it is, "Inland Empire" gives the audience all the threads and thoughts needed for an intense, dark, beautiful and dazzling film experience.
Once the film finally settles down into reality after an incredible opening, a Polish gypsy wanders into the mansion of an actress named Nikki Grace (Laura Dern, in what may be the performance of the decade). The gypsy gives Nikki a prophesy of her upcoming work: when the boy went out in the world to play, evil was born and followed the boy. However, when the girl went out to play, she got lost in the marketplace.
Suddenly, Nikki is in the marketplace working with her ambitious director Kingsley (Jeremy Irons) and co-star Devon (Justin Theroux). Infidelity concerns fly around the set because Devon is known as the biggest womanizer in Hollywood. The concerns wane, however, when Nikki and Devon learn their ridiculously titled film "On High In Blue Tomorrows" is a haunted project that has been shut down before because the two previous leads were killed.
"Inland Empire" sets up this murder/mystery concept, but before long traps us in the world of the studio and the "On High In Blue Tomorrow" set. Nikki and Devon both transform into their characters from the film, Sue and Billy. Kingsley and Devon essentially disappear from the film as Nikki/Sue wander down the different rooms and rabbit holes of the studio system.
The film floats from scene to scene, each one more compelling than the next. There are constant shifts in tone and storytelling and, although "Inland Empire" is three hours long, the film is so free-flowing and compelling that it never feels long. Doors on the set move us from Los Angeles to decrepit audition offices in Poland to the crying Polish woman. And then it takes us back to the home of the rabbits from Lynch's online series, previously accessible only to members of his Web site. Nikki/Sue ends up in the home of a bunch of girls, who may very well be prostitutes. The girls do a rendition of "The Locomotion" before ending up on the dark corner of Hollywood and Vine, where a crime involving a screwdriver is committed.
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