What amazes me about MULHOLLAND is how Lynch retains the parallel universe/dream state/absurdist stuff and adds pathos. His movies keep revealing themselves. For instance, a recent viewing of FIRE showed me how the song being performed when Laura enters the Bang Bang Bar, which Lynch wrote, referes to being abandoned by her guardian angel and the loss of innocence.

Solondz's HAPPINESS: Penultimate scene: Bewildered 12 year old confronts his psychotherapist dad about his pedophilia, the what/who/why. Boy weeps tears of relief once convinced dad won't target him. Final Scene. Six months later at Gran's condo in Fla. Boy still unable to ejaculate (all his buddies claim they can). He spies on a sunbather from the balcony and manages to "come". Dog licks it, runs downstairs, and tongue-kisses Mom. Credits roll. Half the audience cracks up, a few clap and the rest walk out in disgust. I laugh but my eyes are still moist. The genius of Todd Solondz.

You always feel good after a Waters movie. I agree with IMdb voters that FEMALE TROUBLE is his best. A raised middle finger to everything John was supposed to learn during the 50s. Guy at dvdverdict.com calls it : the Citizen Kane of trash cinema.

Zwigoff's CRUMB is the film that best explores the connection between madness and genius, mental illness and art. It's consistently entertaining and illuminating.

REQUIEM FOR A DREAM is a marvel of editing. A powerful cautionary tale about addiction. If I was king, I'd make it mandatory for every 9th grader in our public schools.