Box office Mulholland Falls opened in
wide release in the
United States on April 26, 1996. The box office receipts were poor, earning $4,306,221 (1,625 screens) and the total receipts for the run were $11,504,190. In its widest release, the film was featured in 1,625 theaters. The film was in circulation seven weeks (45 days).
Critical response Review aggregator
Rotten Tomatoes reported that 31% of critics gave
Mulholland Falls a positive review, based on 32 reviews, with an average rating of 5.14/10. The website's critics consensus reads: "
Mulholland Falls vacant characterizations and thin story undercuts its impressive cast and potent style, making for an empty exercise in noir posturing." Audiences polled by
CinemaScore gave the film an average grade of "C+" on an A+ to F scale.
Chicago Sun-Times film critic
Roger Ebert, a fan of noir, liked
Mulholland Falls, writing: 'This is the kind of movie where every note is put in lovingly. It's a 1950s crime movie, but with a modern, ironic edge: The cops are just a shade over the top, just slightly in on the joke. They smoke all through the movie, but there's one scene where they're disturbed and thoughtful, and they all light up and smoke furiously, the smoke lit by the
cinematographer to look like great billowing clouds, and you smile, because you know the scene is really about itself.'
Kenneth Turan, film critic for the
Los Angeles Times, wrote that
Mulholland Falls 'goes about its business without a trace of finesse', but he approved of the direction and the acting, especially the 'haunting presence' of Jennifer Connelly, writing, "
Mulholland Falls combines a vivid sense of place with a visceral directorial style that fuses controlled fury onto everything it touches." In
The New York Times,
Janet Maslin lauded
Mulholland Falls, writing wrote: 'Mr. Tamahori, who gives
Mulholland Falls a smashing, insidious L.A.-noir style meant to recall
Chinatown, along with a high-testosterone swagger that is distinctively his own. This director's first Hollywood film has such punch, in fact, that it takes a while to realize how slight and sometimes noxious its concerns really are. But
Mulholland Falls is so well cast and relentlessly stylish (thanks to some fine technical talent assembled here) that its sheer energy prevails over its shaky plot. After all, when a filmmaker can show Ms. Griffith contentedly reading
A Farewell to Arms, there's not much he won't do. So this film has all the
Chinatown staples—dangerous sex, corrupt power and a vast environment-damaging conspiracy—along with mushroom clouds, porn movies, a crash-landing airplane and many quick bursts of one-on-one violence.' However, many reviewers echoed critic Peter Stack. Writing for the
San Francisco Chronicle, he noted: "
Mulholland Falls falls flat a lot. The best of the old
noir detective dramas had lively pacing and crisp tough-guy dialogue. This movie seems at times like an exercise in slow motion and in dull, cumbersome writing (the script is by novelist and former newspaper columnist
Pete Dexter, who wrote the screenplay for
Rush)."
Accolades •
17th Golden Raspberry Awards:
Worst Supporting Actress - Melanie Griffith; 1996. ==Home media==