Count me - and hopefully you - amongst Keyhole's grateful dead.
| Original Score: 3.5/4
Yes, sometimes the whole thing comes together like a poem or an early surrealist experiment. But too often, it just seems like a jumble of fantasies and daydreams.
| Original Score: 2.5/4
The film is wildly uneven and has a defiant sense of impenetrability.
Maddin's new film Keyhole reminds us that his aesthetic owes as much to David Lynch as it does to F.W. Murnau, and not just because Lynch's onetime muse Isabella Rossellini co-stars.
Black-and-white cinematography, free-association storytelling, an obsession with the past, and the presence of Isabella Rossellini...yup, it's another Guy Maddin joint.
Keyhole offers no promise of landing on solid ground or breaking through the atmosphere. It's a perpetual acid-trip comedown.
| Original Score: 2/5
It's a story about stories, a dream about dreams and a movie about movies, the kind that rewards repeat viewings.
| Original Score: 4/5
With the locked and puzzling Keyhole, you get a sense of a filmmaker who's lost sight of how to take his audience along with him.
| Original Score: D+
While it has its moments, "Keyhole'' feels like something that might have worked better as a short.
To a die-hard Maddinite this may be a little disappointing, but for that reason "Keyhole" may also be a perfect gateway into the bizarre and fertile world of a unique film artist.
| Original Score: 3.5/5
Maddin looks to the past of film the same way he often obsessively examines his own, and the two can't really be separated.
| Original Score: 7/10
Keyhole contains stretches as potent and distinctive as any in Maddin's filmography, but they stand apart from each other, and fail to fully connect.
| Original Score: B-
"Keyhole" never comes together, but that's part of Maddin's creed. He makes movies about movies to express his love for movies, which is to say he makes movies about himself.
It was a dark and stormy night. What? You've heard that one before? Not the way Canuck director Guy Maddin tells it in his mind-bending black-and-white psychosexual melodrama.
| Original Score: 3/5
The film is infectiously somnambulant, so convincingly and unrelentingly dreamlike that its sudden end mimics the sensation of snapping awake from deep sleep.
A night of reckoning by a hoodlum in his haunted former home is a more sober and remote Freudian farrago than one expects from Guy Maddin.
| Original Score: B-