Powerful

Excellent, Without a doubt!!

Absolutely Fantastic

The film's masterful storytelling did its job. The message was clear. No need to overdo.

I couldn't stop laughing and saying "What the eff". I found out later it was a horror movie.I highly recommend this if you're in an altered state. I actually have no idea what the movie was about. I need to watch it again. I'm not sure if you are purposely watching it that it will have the same effect, though.This was years ago. I just happened to run across it here on IMDb so I figured I would comment about what a trip it was.My wife also always tries to tell people about it but we never even knew what it was called until now.

Yes, everything is jumbled. It's all jumbled because that is how we experience life. It's how we, our minds, experience the sensations and stimuli that constitute thought and memory and perception. It's the phenomenon of awareness, how events effect our consciousness. It's how events are relived again and again in our minds. Our "Present" moment is constantly amused by, confused by, taunted by and terrorized by memories, impressions and feelings of past moments and events. Our "Present" moment is also assaulted, distorted, effected by future events or moments. How so? By thinking about things that have yet to happen, good or bad, we shape our present moment. The awareness of future moments and events brings pleasure, joy, anxiety, dread, terror into our present experience. Apparently it's mostly anxiety, dread and terror because that is how we are "wired" to react to the unknown. What's more unknown then the future? This is how we are experiencing the "Right Now". According to this experience – which is the "Real" way life enters and effects us – linear, chronological time is a poor, inefficient standard by which to relay or recreate that "Real" experience. You know how some movies reorder the sequence of events to make it fun, confusing, shocking to tell their story? That deeply felt "Aha!" moment when we finally get it, when it all sorts out in our minds. That experience is in fact what makes up "Reality", but occurring much, much more frequently. Occurring constantly, incessantly, eternally, like a never ending nuclear explosion in the mind. It's a terrifying, exhilarating jet stream of 'Aha!s" that constitute our experience of "Reality". You must respect the nature of the phenomenon of "awareness" if you are hoping to instill in your audience, not just information or a mood or a feeling, but a profound "Real" experience. Once you "tune in", then everything (suddenly?) falls in line and you find yourself. You find yourself not just "watching" and "considering" and "understanding" what's going on, but above all, experiencing it. It nearly feels as though it's your own original experience. Nearly.David's 'Rabbits" is a device to recreate his experience not just for our eyes, ears and hearts, but for our consciousness. At the moment we are "watching" his "Rabbits", we are also experiencing life in our nonlinear, personal way. Most people just aren't aware of it. The linear, sequential flat time of "traditional" movies actually is at odds with how our minds are processing "Real" life, but we have learned - been conditioned - to translate as best we can this unnaturally occurring movie information. As we have gotten accustomed to this convention of linear movie time, we have been adopting, and accepting, an inferior reality. A "Real" moment is "experienced", not just watched and heard. And a "movie" is only experienced as "Real" if our minds are processing it in the exact same manner it processes "Real" stimuli, which means not sequentially, but in an echoing, repetitive, staggered, disrupted, broken, vague order. David's "story" has therefore been translated so that it is similar, parallel, consistent with everything else that our mind is experiencing at the moment "Rabbits" is being "watched." You just have to understand the "language" that it's been translated into, which David gives some helpful directions to right at the very beginning and all through. It's by performing the slightly complex contortions of your awareness in order to experience his "story" that you are "opening" yourself up to fully receive, experience it. Once you make this necessary adjustment of your awareness you then "see" so much more clearly. It's one hell of an experience - the anxiety, dread, terror, horror, relief, joy, surprise, and desire are experienced much less out of confusion and much more so out of clarity. There's a "story" underneath, behind, around, within all this seemingly random oddness. That "story" is a very intense experience. And the experience is in the moment of accepting it.Sounds complicated but it's just like those 3d pictures that look like a flat repetitive pattern, but when you focus your eyes just right, you suddenly can "see" into it a very deep, dimensional object or scene that appears "real". You shift your focus just ever so slightly, and it's gone, flat and meaningless again. Same thing here, but the shift in focus is not with your optical vision, but with your awareness. The place or attitude or moment we must shift our awareness to is the key to unlocking the whole experience. And that's easy and tricky.It's an astounding process that David has employed. It's something he gleaned from his 32+ years of Transcendental Meditation. And all this just describes the process we must pass through to "get on" the right "eyes" in order to experience the "Real Story" that is "Rabbits". The "Real Story" is in the mind of the creator but it's equally in the mind of the viewer. True Theater of the Mind. It's like turbo-ultra-3D in the mind. And all done without drugs or a severe concussion.I came upon this awareness through his "Inland Empire" where "Rabbits" are so powerfully effective as an element of reverential doom(?). I transposed my experience with "IE" to find my "way" into Rabbits, which has a much less specific "story" compared to "IE." When you happen upon the "way" it all rushes up to greet you. You will know "Rabbits".

the misplaced dialog, off-timed schizo audience tracks, blurred thundering somewhere, sustained cigarette burns, menacing appearance of chanting mouth cut-out, characters fading in and out, unmoving camera position, repetitive character and dialog configurations - watching rabbits is like slumbering in someone else's head - there is no danger only repetitive surprises and soothing crashes of events on our retina; nothing connects and everything for sure was connected once. to repeat, the misplaced dialog, off-timed schizo audience tracks, blurred thundering somewhere, sustained cigarette burns, menacing appearance of chanting mouth cut-out, characters fading in and out, unmoving camera position, repetitive character and dialog configurations - watching rabbits is like slumbering in someone else's head - there is no danger only repetitive surprises and soothing crashes of events on our retina; nothing connects and everything for sure was connected once.

Lynch really elevated my opinion of him here. This is very, very well constructed. It is the highest art.That means that any "explanation" will be worthless. You can read some other material to discover something of what you will see.Its unsettling and strange, hypnotic and lyrical. That it is in several "episodes" is all a part of how certain familiar forms are subverted to give us something that has identity and also has a sort of meta-identity defined by deviance from the expected.My observation will be highly personal. I see this as a sort of "Rosencrantz and Guildenstern" but instead of referencing "Hamlet" engages "Alice in Wonderland." It fits, especially if you are inclined — as I am — to blow Alice into something as world-swallowing as Hamlet. Where Hamlet is all about what it means to sit in the world, Alice works at more refined level, being all about what it means to carry a name in the world.One is about being and the other about what we see and acknowledge about being. Its this second conceptual space that Lynch inhabits, always has. His "firewalking" TeeVee stuff bends notions of representation and discovery, the amusement being not in what we see, but in the difference between what we expect to see.Let's look at the entire vocabulary he has toyed with. First, he acknowledges the audience (laugh track), camera (static but in and out of focus), narrative (drawn more overtly by its fragmentation), framing (with very formal, abstract composition) and "acting," which here consists more of pauses and empty spaces than anything we normally associate with acting.And then there's the bending of the form. We have a demon that appears twice. Its noir drawn tightly, especially since there is a hint that the demon or his avatar as perhaps a "lost dog" is driving the entire situation. And then we have three "performances," one each by the three characters. These are accompanied by an ignited set, literally ignited. The performances, which each occupy an episode, are pretty transcendent in terms of what we would see in an ordinary drama. In such a case, each would "solo" in such a way that their soul was revealed. Its the challenge of the writer to weave this into events in such a way that we don't see the performer revealing his character overtly. This is different; all pretense is removed. The character enters and opens its heart with no narrative baggage. What the character tells us actually has more information about context than the surrounding context provides.Ted's Evaluation -- 3 of 3: Worth watching.