Average Rating: 6.2/10
Reviews Counted: 37
Fresh: 26 | Rotten: 11
No consensus yet.
Average Rating: 6.6/10
Critic Reviews: 15
Fresh: 11 | Rotten: 4
No consensus yet.
Average Rating: 2.9/5
User Ratings: 407
After a long absence, gangster and father Ulysses Pick (Jason Patric) arrives home to a house haunted with memories, towing the body of a teenaged girl and a bound and gagged young man. His gang waits inside his house, having shot their way past police. There is friction in the ranks. Ulysses, however, is focused on one thing: journeying through the house, room by room, and reaching his wife Hyacinth (Isabella Rossellini) in her bedroom upstairs. The equilibrium of the house has been disturbed
Apr 6, 2012 Limited
Jun 18, 2012
Monterey Media - Official Site
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Still too self-referential, too hermetic and too glacial to offer much enjoyment beyond the gorgeous monochrome visuals.
Patric's performance is a deadpan treat. His can-do, take-charge character is in continual zany contrast to his surreal surroundings.
'Keyhole" is the first Guy Maddin movie that feels as if it got only halfway out of the director's head and onto the screen.
Funny enough to be disarming even when it's spinning its wheels thematically.
A Maddin film has a disturbing way of always seeming to exist in the present, like a dream. You know what happened and you even know what will happen, but you also see it all shifting and changing.
Like Maddin's melancholic and relatively more conventional My Winnipeg, Keyhole is about a memory house, but one that is even more fragmented, mythical and elusive.
A bravura journey into a noirish nightmare world and a lock that even paid-up Maddinites won't be able to pick on a single viewing.
Maddin has always been something of an acquired taste - and he seems to be doing his utmost to keep it that way.
This rousing and tormented monochrome tale of a deadbeat gangster making an unusual odyssey through his haunted home is sordid, sinister and bafflingly brilliant.
Keyhole is an enchantment of chiaroscuro compositions which float across the screen like a dream; it's an acquired taste but pure cinema nevertheless.
A peculiar film rich with varying tones and styles. It's not hard to see why Maddin has been deemed Canada's answer to David Lynch.
Though self-referential to a fault, the deadpan humour, frayed logic and monochrome dazzle cast their own richly peculiar spell.
It's an exhausting feature, richly made yet punishing and baffling in a manner that doesn't invite further discussion. I suppose Maddin fans wouldn't want it any other way.
The film is creepy, depraved and often funny and Maddin's most perverse outing since "Tales from the Gimli Hospital," but although it compels through most of its running time, it doesn't quite sustain through the home stretch.
Characteristically full of some beautiful and evocative images, Maddin's latest film seems doggedly intent on achieving art status merely through obfuscation.
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