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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
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Frequently referred to as "the Canadian David Lynch," Winnipeg-born filmmaker Guy Maddin's surreal, dreamlike works are often cited for their striking visuals and obscure sensibilities. Whether he is recreating the look and feel of a frantic silent film in the acclaimed short The Heart of the World (2000) or basking in the over-saturated hues of Twilight of the Ice Nymphs (1997), it seems slightly unfair that, due to Maddin's strikingly unique talent as a filmmaker, critics and audiences still find the need to define him through the talents of another filmmaker. Given the decidedly primitive aesthetics of his celluloid universe, though, his work may demand it. Maddin's father was a prominent hockey coach and manager, and his mother the proprietor of a local beauty shop, and both of his parents' careers had a profound effect on the young filmmaker. Whether watching the teams practice at Winnipeg Arena or playing with his friends at his mother's salon, Maddin's unique take on everyday eccentricities was fueled by numerous unforgettable childhood experiences. Two of these, in particular, were a piggyback ride from Bing Crosby and the advancement of a common cold into an intense neurological disorder that resulted in strange physical sensations; these experiences gave the imaginative youngster an acute and unique view of the world. Childhood memories and stories passed on by his parents have frequently found their way into Maddin's unique films as well, with the tale of how his grandmother accidentally poked out his father's eye memorably recreated in his first feature, Tales From the Gimli Hospital. As for his education, Maddin received a degree in economics from the University of Winnipeg, and his following years were spent as a bank teller and a house painter. His film education came not with any formal training at a trade school, but with endless weekends of watching films with close friends John Paizs and Steve Snyder. Soon realizing that Paizs was making films and Snyder was teaching production at the University of Manitoba, Maddin eventually decided that he needed to put his own knowledge to work and step behind the camera. Encouraged by his participation in a local cable access show in addition to the films that Snyder had produced while in film school, Maddin put light to celluloid for his darkly comic freshman effort, The Dead Father. Soon developing his own style in regards to camera movement and lighting aesthetics, Maddin was quickly on his way to filming his first feature, Tales from the Gimli Hospital. An expressionistic voyage that found two hospitalized patients embarking on a bizarre competition and which took viewers into "a Gimli we no longer know," Maddin's surreal and humorous freshman effort gained the burgeoning filmmaker international attention, and the film continually played as a midnight feature in the theaters of New York in the years following its release. Reluctant to abandon short films for features as many filmmakers do, Maddin subsequently averaged one short per year while preparing his next feature, Archangel (1990). Once again filmed in stark black-and-white and taking on the crackling texture of a film released at the turn of the century, the film held true to Gimli's promise, and fans certainly couldn't accuse Maddin of a sophomore slump. Dipping his toes into color for his third feature, Careful, Maddin's departure from black-and-white showed a filmmaker as adept at creating lush, over-saturated images as he was at re-creating the desaturated images of an age long past. In 1995 Maddin was honored as the youngest ever recipient of the Telluride Film Festival's Lifetime Achievement award -- an event which ultimately marked the beginning of one of the most creatively stifled periods in the young director's career. Though his critical acclaim was at an all-time high moving into the new millennium, it seemed that many of Maddin's works were not coming t