Steven Soderbergh’s latest is a haunted house story told ... whose ‘monster’ behind the diner in Mulholland Drive was the last shock to produce this effect, along with a bit of a jaw drop). At the start of the film, we as the Presence wander around ...

Reactions to the death of David Lynch, the visionary filmmaker behind “Twin Peaks” and “Mulholland Drive,” whose death at 78 was announced Thursday.

"I always operate the camera, but this was next level," the director says. "I’m really in there with the actors."

David Lynch, the peerless director behind such masterpieces as Eraserhead, Blue Velvet, Wild at Heart, Twin Peaks, and Mulholland Drive, was one of cinema’s all-time greats, a unique visionary whose dark and surreal films were the stuff of both unsettling dreams and sumptuous nightmares.

Oscar-winning director Steven Soderbergh takes us there in “ Presence ,” a ghost story filmed entirely in a New Jersey home. Unlike most films in the genre, the movie, in theaters Friday (Jan. 24), is told solely from the point of view of the ghost.

Steven Soderbergh’s “Presence” requires some initial audience disorientation. Mistake? If so, why do we miss David Lynch so much?

Lynch broke through in the 1970s with the surreal “Eraserhead” and rarely failed to startle and inspire audiences, peers and critics in the following decades.

Steven Soderbergh, Questlove, Ron Howard and More Pay Tribute to David Lynch Reactions to the death of David Lynch, the visionary filmmaker behind “Twin Peaks” and “Mulholland Drive ...

With the audience haunting a sad family through a spirit's POV, Steven Soderbergh's latest experiment is ultimately about the never-ending appeal of voyeurism.

I saw a good movie the other night, guided by a tight, 85-minute narrative and a gratifying seriousness underneath its supernatural premise. The film is “Presence,” made for a couple of million dollars,

Soderbergh uses the barrier of the screen as part of the film’s story—as if to say we can look, but we can’t touch. Although this is all psychologically disconcerting, Presence is hardly a traditional work of horror.

Perhaps no other games have pulled off the tone of David Lynch’s work quite as successfully as the first three entries in the Silent Hill series. On the surface, of course, there’s the soundtrack: industrial clangs and whirrs,