In the book I’m reading, The Architecture of David Lynch is all about location and how his architectural framework is built around places.
Loved it, loved the character it gives to the location. The film, finally, is funny, scary and brilliantly cinematic. Andrew Grevas interviews Eileen Mykels after her first viewing of David Lynchs Wild at Heart and they discuss her reactions to the film. Even more than a virtuoso shoot-out, two scenes - Stanton tortured by a gang of grotesques, a truly nasty car crash - exemplify Lynch's ability to disturb through carefully contrived atmosphere while the performances lend a consistency of tone lacking in the narrative (but ever-present in Fred Elmes' fine camerawork). But it's churlish to focus on flaws when so much is exhilaratingly unsettling. a 12-foot puppet of a Syrian refugee girl, to walk in multiple San Diego locations. This déjà vu weakens the film sometimes the weirdness seems so forced that Lynch appears merely to be giving fans what they expect. Padres depth has to improve for team to get wild-card berth. As petty criminal Sailor (Cage) and his lover Lula (Dern) go on the run through a murderous Deep South, fleeing but meeting sleazy oddballs hired by Lula's mom (Ladd) to end their relationship, Lynch evokes a surreal, sinister world a mite too reminiscent of his earlier work: bloody murder, violent sexual passion, kooky kitsch, freaky characters immersed in private fantasies, digressive metaphors, symbols and cultish references, and bizarre humour to lighten the nightmare. Wild at Heart 1990 R 2h 5m IMDb RATING 7.2 /10 98K YOUR RATING Rate POPULARITY 2,655 11 Play trailer 1:50 6 Videos 99+ Photos Comedy Crime Drama Young lovers Sailor and Lula run from the variety of weirdos that Lula's mom has hired to kill Sailor.
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