A Disappointing Continuation

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

By far one or lynch's best movies. When I watched Lost highway for the first time round I was left confused. When it came to watching it for the second time round it all made sense. Lost highway is a film full of mystery/romance /crime perfectly blended together. Lost highway is one of the very few films I recommend to people. In my opinion lynch's second best movie !

This is a very sharp and subtle surreal mystery-horror tale that takes some key-elements off gems like "Meshes Of The Afternoon", "Double Indemnity", "Dead Of Night", "Detour", "Out Of The Past", "Kiss Me Deadly", "Last Years At Marienbad", "Carnival Of Souls", "Happy End", "Images", "Some Call It Loving", "Zigeunerweisen" and "Suture" to re-elaborate it all in a more organic and unsettling way, through mesmerizing and disturbing sequences that will never fade away from the viewer's mind and requires multiple views to be fully understood without ever becoming boring, a unique quality!

My 6th Lynch film. I think was his best. Most clear expression of his world/thoughts/feelings. For me art is about expressing what's up in your mind/your emotions, from that perspective this seems really good. Nice pictures, beatific atmosphere, and admittedly a unique movie. Keep it uppp

Inevitably viewers, on seeing LOST HIGHWAY for the first time, might ask what on earth is happening; or perhaps try to look for symbols in order to decode what director David Lynch has to say about contemporary American - specifically Californian - society.Perhaps it might be better to approach the film on its own terms as a meditation on the fluidity of identity, where Fred Madison (Bill Pullman) is sentenced to death in the electric chair for the murder of his wife Renee (Patricia Arquette), and subsequently morphs into Pete Dayton (Balthazar Getty), who becomes involved with Alice Wakefield (also played by Arquette) and mobster Ed (Louis Eppolito). As the action unfolds, Alice morphs into Renee. Throughout the action a mysterious presence lurks, with a whitened face and forbidding air (Robert Blake); he ostensibly works for Ed, but he seems to be able to penetrate even the most private spaces.Lynch has chosen the most commonplace names for his two male characters to emphasize their ordinariness; they could be anyone we encounter in our daily lives. Nonetheless what happens within their imaginations is very different from their quotidian behaviors; they are both tortured souls either unable or unwilling to conquer the wild and often horrific promptings of their unconscious minds. Renee appears to be dead; but then she mysteriously resurfaces later on in the film. Alice at one point tells Pete "You will never have me," suggesting a male desire for possession that will never take place in a dystopian world.The "Lost Highway" of the title is frequently shown in point of view shot, as a vehicle travels up a deserted road at night, with only the road markings visible. This might be both physical as well as mental; a metaphor of the male protagonists' diseased minds as well as a representation of just how threatening a landscape can be, especially at night when there are no lights to illuminate the street.LOST HIGHWAY is the kind of movie that consciously resists interpretation, and justifiably so. It requires considerable attention on the viewers' part, not only to appreciate the subtleties of director Lynch's directorial technique, but to decode what is happening in a series of visually complicated sequences. It is the kind of film that demands repeated viewings - not necessary to "understand" it better, but to appreciate just how carefully Lynch constructs it.