Lost Highway (1997)

The Hi-Lo Country (1998)

Two cowboys have their friendship tested when they fall for the same girl.

Revisionist Western is beautifully made, especially concerning cinematography and score and the male lead performances, and the depiction of the buddy friendship works, but the romances don't convince at all.

Halliwell*: "Elegiac, overlong movie of the decline of Western traditions that occasionally hints at more complex matters, of men trapped by their own situation, before settling for nostalgia."

Maltin**1/2: "A paean to the cowboy way of life and the joys of true friendship, this film has so much going for it (including Harrelson's terrific performance and Oliver Stapleton's cinematography) that it's a shame it doesn't hit the bull's-eye...and Arquette is so dull."

Lost Highway (1997)

After a bizarre encounter at a party, a jazz saxophonist is framed for the murder of his wife and sent to prison, where he inexplicably morphs into a young mechanic and begins leading a new life.

A wonderful Noir dream adding more facets to the Lynch universe and leaving the audience even more puzzled than ever before.

On renewed viewing: It's fascinating to see that Lynch has every aspect of this tale (images, sound, characters) tightly knit into his vision, which sets reality and phantasm into a dreamlike loop.

Halliwell*: "An exploration of four characters in search of each other that leaves them, and the audience, too often stranded in limbo."

Maltin**1/2: "Bizarre Lynchian story that makes Twin Peaks seem as easy to follow as a Sesame Street episode...Lynch fans will have fun trying to figure it out; others will find it incomprehensible. Blake is particularly enigmatic ..."

Patricia Arquette