Just as good as the first (makes sense, filmed back-to-back) although markedly more grim - espionage becomes war, love becomes death, etc. Things are arguably wrapped up - the cliffhanger is more a promise of things to come than a direct lead to another film - but I (for one) would love to see more (for all - ha).
Exactly what I want from a blockbuster. Clearly chasing after the success of the American superhero sagas (there's even a mid-credits tease) but, all things considered, more satisfying. Flies along through big set pieces, hitting its mark between serious and playful (no mean feat) - the colours are excellent, de-saturated but never drab. What I know about the source material wouldn't fill a postcard, so all the moments of high suspense worked like a charm.
Many calls to keep making weird art following the news Lynch had died - but I also keep thinking Lynch never set out to make things strange - he made art, and its strangeness follows from his commitment to the truth of his images.
Inland Empire is castigated by some as self-parody, but I'm not sure Lynch is capable of that kind of insincerity. This film is surreal in that it's dream-like, in an absolute sense - like a dream.…
Wonderfully overwrought, although it lacks the foaming paranoia of a true film about faith (The Devils, The Exorcist, etc.). I can’t believe the first place I write about Catholicism is a fucking letterboxd review but this did dredge up memories - painfully ordinary people, bound up in service to a higher power that is deafeningly silent.
The screenplay somehow manages to gather together all pressing political questions while still making the whole thing feel like one (tall) tale - but…
