Plays like a fever dream recalled upon waking, told with the immediacy of fear couched in relentless pleasure.
Cowards Bend the Knee (2004)
Tomatometer
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Reviews Counted: 18
Fresh: 17
Rotten:1
Average Rating: 8/10
Theatrical Release:Aug 11, 2004 Limited
Synopsis: A 10-part peep show seen through the antiqued foggy glass of Guy Maddin's artistic lens, COWARDS BEND THE KNEE promises an eyeful of thrills, chills, and unpredictable mystery--with a good helping... A 10-part peep show seen through the antiqued foggy glass of Guy Maddin's artistic lens, COWARDS BEND THE KNEE promises an eyeful of thrills, chills, and unpredictable mystery--with a good helping of smut to boot. [More]
Starring: Darcy Fehr, Melissa Dionisio, Amy Stewart, Sue Birtwistle
Starring: Darcy Fehr, Melissa Dionisio, Amy Stewart, Sue Birtwistle, Michael Bell, Louis Negin
Director: Guy Maddin
Director: Guy Maddin
Screenwriter: Guy Maddin
Producer: Philip Monk
Studio: Zeitgeist Films
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Reviews for Cowards Bend the Knee
A dreamlike tale told by an idiosyncratic storyteller who is hyper-imaginative.
If you've never seen Maddin's work, Cowards Bend the Knee is a good place to start.
If you're a fan of Maddin's expressionist style, you'll find the humor within. Everyone else will be scratching their heads, despite Maddin's extraordinary visual imagination.
There's no denying the imagination and technical ingenuity on display, but this clearly ranks as one of Maddin's less accessible efforts, which is definitely saying something.
Lurid, tawdry and untoward entertainment from Canada's reigning mad genius.
Although only an hour long, the movie -- which uses intertitles to convey dialogue -- may seem endless to those who have not acquired a taste for Maddin's surreal mayhem.
There's a new visual idea every second, each teeming with energy, pitch-dark comedy, and inspired cinematic lunacy.
The pleasure is watching how the fast-paced story careens from one outrageous plot turn to the next. This is one film in which over-the-top is sincere praise.
Most of Maddin's usual preoccupations are in evidence -- guilt, incest, sexual obsession, voyeurism, early cinema and Maddin's greatest love, hockey -- and as luridly entertaining as ever.
There is also something rather splendid about this extended-play peep show, as if Mr. Maddin had stumbled across a hitherto lost archive of cinema's less-than-innocent past.
What's truly extraordinary about this movie -- which strikes me on two viewings as Maddin's masterpiece -- is that it not only plays like a dream but feels like one.
One of the most brilliant works of an unapologetically eccentric, and endlessly inventive, director.
Even by the standards of Maddin's past works, it is a unique creation -- intense, ridiculous, but also deeply personal.
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