Metacritic reviews

The tone and subject at times recall David Lynch's "Lost Highway" and "Mulholland Dr.," but the approach is Hellman's own.

Monte Hellman's first feature film in 21 years is one of his finest and deepest, a twin peak to his 1971 masterpiece, "Two Lane Blacktop."

If Mr. Hellman's movie only partly fulfills its promise as a gripping neo-noir mystery, his stylistic hallmarks lend it a singularly haunting atmosphere.

The script is busy and unconvincing, and much of the acting is lousy, but there are haunting touches.

Calling Road to Nowhere a noir is like referring to Hellman's cult classic "Two-Lane Blacktop" (1971) as a road movie: Technically correct genre assignations hardly do justice to either work's existential ennui and elliptical, Euro-jagged style.

The biggest flaw is the casting: only Shannyn Sossamon delivers a performance of even modest depth.

Audiences can either fight it, trying to make sense of the shaky plot, or flow along with the film's languid, doomed romance accompanied by the southern poetics of singer-songwriter Tom Russell.

Fans of the filmmaker should thrill at the prospect of a new project, but the film's lackadaisical pacing and preoccupation with pulling the rug out from under the audience.

The screenplay is by Variety editor Steven Gaydos, and it combines a working knowledge of on-set dynamics with corny cinephile in-joking, frequently elevated by the fresh evidence of Hellman's craft in the tranquil, largely nocturnal atmosphere, until the closing-credits song ruins everything.

Road to Nowhere is a dead end. Most of the performances are carved from balsa wood. [13 & 20 June 2011, p. 129]