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I like the storyline of this show,it attract me so much

Highly Overrated But Still Good

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

More pretentious crap from David Lynch. I used to be fan, enjoying Blue Velvet, The Elephant Man, Wild at Heart (especially) and Twin Peaks (the series, not the movie). Then he thought he would make any old weird meaningless stuff and people would think it was brilliant, because they didn't understand it. Judging by the (good) average ratings for Mulholland Dr, Lost Highway and this, he has succeeded. (Straight Story was great, but was more conventional, and a one-off).Avoid like the plague. Boring, pretentious drivel of the highest order.

Don't have much to say about the movie in general. One of Lynch's best.I wish to comment on why I had trouble understanding why Lynch chose "Inland Empire" for the title. Sure, I could have looked it up. Maybe it was for this or that reason. But after watching the movie a few times, here's what I came up with.Having an inland empire means stagnation, without escape except by intruding into the self, or migration. This is a forced-upon situation on the citizens. Now take the main character. She is in a controlling marriage, is exposed to sensual temptation and, living in an inland empire, takes the route of deception (infidelity). Were she not in an inland empire or, as I argue, a suffocating marriage, she would not seek pleasures elsewhere.So this folk tale has two meanings, in my opinion, because of the title. Mine takes another look at the concept of karma, reincarnation - that the bad deeds which result in steps downward may be actions resulting from unjust conditions.

David Lynch has long been attacked for his treatment of women in his films. INLAND EMPIRE, the last feature film he made (and, it's beginning to look as though it will be the last feature film he ever makes) responds to these criticisms with a brilliant, 3-hour epic on the treatment of women around the world.At one point, a homeless woman on Hollywood Boulevard tells one of several Laura Dern characters, "Woman, you're dying." In a hodge-podge of what look like unfinished David Lynch projects, INLAND EMPIRE explains exactly how and why women around the world suffer. The most prominent storyline in the film, if such a masterpiece of abstraction can even be limited to the term film, is that of a movie production in which a cast and crew attempt to film a movie that was filmed decades earlier with disastrous consequences. The trials and tribulations the Laura Dern characters go through represent all the hassles we horrid, patriarchal s.o.b.'s put them through (yes, I'm a feminist who was accidentally born with testicles...)The film ends brilliantly with Dern assaulting her masked, unknown assailant, and then a joyous musical number featuring women of all shapes and sizes, clapping their hands and singing along to a Nina Simone tune (not much more radical than that, eh?)The only part of the movie I struggled with were the scenes that took place in Poland (?). One has to expect a certain amount of confusion when watching a Lynch film, though.

A David Lynch film is a tightrope act of sorts. They're all a little abstract, a little bit mystical, but remaining (usually) is a looming mystery that is never solved; the viewer must be ready to interpret the abstruse puzzle presented to them. In a great Lynch film, Mulholland Dr. for example, a profound characterization can act as a backbone to the many head spinning detours that dawdle in the celluloid. Without one, though, a Lynch film can become intolerable, masturbatory rather than dazzling, a series of puzzle pieces that don't fit anywhere besides his own mind. He is perhaps the definitive hit-or-miss filmmaker — when he hits, his baffling ideas are seductive, lingering in our memory like our very first run-in with Rita Hayworth's Gilda; but when he misses, we're presented with a nightmarish landscape that doesn't make a whole lot of sense, doesn't go anywhere, and doesn't have much in the way of meaning. (And a Lynch film is generally long, making insufferability even more insufferable as the images go on and on and on and on …)Simply put, Inland Empire is one of David Lynch's most unbearable movies. It's his first film shot completely digitally, done so with a Sony DCR- VX1000 camcorder; the images, in return, are fuzzy and textural. Some, especially Lynch, find this photographic technique to hold more value in terms of enigma and subversion, but I, possibly in the minority, think that this experiment is a downfall. His images are so outrightly peculiar (only he could sell the idea of three people in rabbit suits living in an apartment together in sitcom bliss) that the cheapness of the digital camera makes his once lush pictorial instincts read like an experimental student short. Before, the lavishness of film made diversions into the freakish more of a surprise; here, Lynchian punches no longer hold the shock the once did. This shouldn't suggest that his cinematic mastery is waning — it's the fault of the camera, not his.Supposedly, Inland Empire is about Nikki Grace (Laura Dern), a has-been actress who has just received a part in a movie that could revitalize her once strong career. Her co-star is known womanizer Devon Berk (Justin Theroux), her director the respected Kingsley Stewart (Jeremy Irons). Minutes into the rehearsal process is it revealed that the project is thought to be cursed — it was supposed to be made decades ago, but the actors tragically died during the filmmaking process. Following this revelation, strange things start to occur: Nikki and Devon begin to mimic the lives of the characters they're playing, Sue Blue and Billy Side, and Nikki, desperate as she is to succeed, begins experiencing situations that can only be described as hallucinatory.I say "supposedly" when providing the plot summary because Inland Empire revolves around this storyline for only the first act, possibly even less. It starts off intriguingly, with the same sort of luminous ambiguities of Lost Highway, until it descends into a labyrinth of entangled phantasms. For a while, the delusions are evocative (the audacious pairings with experimental music are especially fascinating), but at three hours, Inland Empire eventually keels over and turns into an unappetizing smörgåsbord of Lynchian rejects. As the story was never interesting enough to begin with, interpretation is left untouched; we're either frustrated or stimulated, mostly the former.The one thing to celebrate in Inland Empire is Laura Dern, in a fearless performance. Her character(s) is hardly defined, but Dern gives us a reason to gaze upon her face with utter enthrallment. She wanders around the maze Lynch places her in the middle of; Dern is so breathtaking that, once in a while, she deceives us into thinking that the material is solid rather than flimsy. More or less, Inland Empire is flimsy. Lynch wrote the script as filming went on (seriously), and nothing ever commences from it. He is a great director, but nothing is worse than taking an audience for granted, especially when that audience has to meander through a film for 180 minutes. Read more reviews at petersonreviews.com