David Lynch’s works are intense masterpieces. They are optical illusions that loose their shape if you stare at them too long.
Mulholland Drive is about a young lady whose promising career as a jitterbug dancer fails to propel her to Hollywood stardom. She’s a wreaked shell of a starlet, but she dreams a pretty dream that makes up the bulk of the film.
Inland Empire has a much fuzzier plot, but it revolves around an out-of-work and aging actress who secures a role in a film about infidelity. She’s absorbed by her role as both her and the audience lose touch with what’s real and what’s part of her film.
Both of these movies comment on the harshness of Hollywood, with particular jabs at the industry’s treatment of women. The message and the labyrinthine plots are secondary to the delivery. Lynch’s vignettes swing from ethereal to spooky, digging at the intellect with dream logic.
Lynch tells his stories to the subconscious mind and is unapologetic when reasoning fails. He’s film’s abstract artist.
With its realistic violence and cringe-inducing themes, the South Koren revenge film "Old Boy" isn't for sissies. Drunken cad, Oh Dae-Su is kidnapped and locked up for 15 years. He's drugged throughout his captivity, and the audience is privy to his vivid hallucinations.
When he's set free, Oh Dae-Su swears revenge on his captor, soon discovering that he's the victim of a man named Woo-jin's own monstrous revenge plot. I can't tell you why this movie is so sick without ruining one of the twists, but I promise that you will gasp and/or hold your hand over your mouth at least once during the film.
This Cannes Film Grand Prix winner is loosely based on a manga, and I could see the influence. In one scene, Dae-Su uses his hammer to beat down about 20 thugs in a narrow ally. This super-human feet is shown so hyper real, that it's actually believable. "Old Boy" swings from these instances of urgent brutality to dizzy, point-of-view trances, keeping you guessing all the way to it's queasy culmination.