Under the Silver Lake

Delightful. For many it will understandably be a hard to swallow trip through a town that for the film has the same meaning Bethlehem has for Christians. Mitchell leads the attention unpretentiously, the viewer must focus on the details and the small pop-cultural references to fully enjoy the raggedness and self-reflection of a unique world, where every corner offers something different – always a vague clue, both for the viewer, who’s pushed to several interpretations, and for the protagonist who guides them in that world. The ending is not as dramaturgically solid as the best of Lynch and the runtime feels a bit excessive, but the consistent pace and the coherent author’s signature put the thumbs very well up in the final appraisal. It’s the first film where I didn’t mind Garfield, and if he keeps on choosing interesting projects that offer cinephiles food for thought like this, I might end up liking him. And that applies twofold for Mitchell. 80% (01/12/2019)

Comparing the atmosphere of this film with David Lynch is a bit off the mark. The movie is actually not as strange as it looks at first glance. It’s rather a wannabe thriller with noir elements where people behave in strange ways mainly because they are simply weird. Andrew Garfield plays probably the weirdest role in his entire career and it would probably be better if he didn’t have it in his portfolio. For over two hours, something is going on that portrays the human vanity in Hollywood and it does so in such an inconspicuous manner that I don’t think the locals will understand that the movie is referring to them. The entire time, I was waiting for something a bit more meaningful to come out of it, but the good-for-nothing ending cut that off and essentially confirmed what this movie is about. It’s actually about nothing at all. (01/29/2019)

Under the Silver Lake consist of lengthy wanderings around LA, people meeting and experiencing bizarre things, between which there are unfortunately no interesting connections that would move the plot forward. It has a fine, noir-like atmosphere with references to Hitchcock and Lynch. Not to mention the sexy girls, especially the main femme fatale, for which Garfield falls head over heels. The script, however, does not work as it should, being nothing more than a pseudo-intellectual fusion of neo-noir with pop-culture ornaments and, above all, a weak "point" which the viewer had vainly hoped would save the whole movie. That said, the film at least has a nice (pop-culture) music score. [Cannes] (05/17/2018)

An entertaining modern film-noir that’s subversively playing with the viewers and their attempts to decipher possibly undecipherable hidden messages. Talented David Robert Mitchell recounts an odyssey full of pop culture references leading to a dead end, while, at the same time, quoting Alfred Hitchcock heavily in many scenes and populating the enigmatic Los Angeles settings with hordes of weird characters. Andrew Garfield very skilfully handles the tricky storyline and delivers. Personally, I would have happily watched another hour of Mitchell’s frisky tale. [Sitges 2018] (10/22/2018)

Hobo´s ///. Mulholland Drive 2018 or WTF³, which will for couple of decades stimulate discussions, analyzes of God knows what including slow-motion sound recordings of a neighbor's parrot played backwards. But in contrast to similar self-serving onanist mindfuck's elusive super weirdness, this one has an insurmountable advantage that puts it alongside the aforementioned best lynch or Donnie Darko. It works on its own, without any effort on the part of the viewer to discover the encrypted meaning of the universe, purely as a hypnotically captivating expedition into the depths of fantasy madness / raised middle finger to all (everything). If you still wanted to know what the hell it's all about, I'd probably tell you “(im) perfection + pothead comedy + paranoid schizophrenia + Henry: Portrait of a murderer = a tribute to classic Hollywood and noir", but much (really much) more apt would be just to bark ... I mean woof, woof! (10/05/2018)