3/5
Lynch's work is probably the creative equivalent of bringing Eli Roth home on a date to meet her father David. It's not necessarily a bad thing. Just different from a film that her father would make, and of course she is going to be forced to endure countless comparisons from the film community given the impact that David Lynch has had on modern cinema. She has certainly picked up some of the chops, while the film is quite disturbing at times it still maintains an artful quality to it. D'Onofrio disappears into his role as Bob, proving that he can become an even more involved killer than his character in The Cell. His victim, Rabbit (Eamon Farren), maintains a very obvious sympathetic edge throughout the film, as he sits in the run down shack malnourished eating the scraps left behind by Bob. When it comes to the attention to set design, the serial killer's house is so chilling the Fedex guy would be afraid to place a package on the front steps. The visual canvas of the film is laid out using a lot of bleak colors, and when you are in the presence of some light it's usually a circa 1970's lamp providing a disconcerting glow throughout the filthy shack. The windows are boarded up. The basement, which is home to the remains of the many victims, is lit only and ironically by Christmas lights. Night falls, and the glow of fluorescent-lit "Comfort" written on the top of the Taxi Cab provides the same tension you feel when trapped in the house with the monster. Lynch not only plays off of visual cues but also with sound as well. There is a very present bass-driven hum throughout the film, maintaining a sense of impending horror. To sum it all up... it's a film that will appeal to the horror fan, but anyone that's planning a re-watch really needs a psychological evaluation.
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