Critic Consensus: The scrutinizing camera angles of Keane might at first feel too close for comfort, but this powerful portrait of a man distraught by the abduction of his child plumbs the depths of mental illness and the corners of fleabag hotels in an intimate and touching examination of the seedier side of life.
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as William Keane
as Lynn Bedik
as Kira Bedik
as First Ticket Agent
as Second Ticket Agent
as First Bus Driver/Ticket Taker
as Motel Clerk
as Woman in Department Store
as Drug Dealer
as Assaulted Commuter
as First Cab Driver
as Second Cab Driver
as Gas Station Attendant
as Garage Employee
as Garage Manager
Critic Reviews for Keane
The film achieves a dramatic intensity that is both admirable and frustrating.
Lewis makes Keane's paranoia our paranoia. Kerrigan limits our world to his world. And that's how this grimly shot, roughly felt drama pulls us in.
When it comes to an emotional payoff at the end, unlike most Hollywood films, it has earned it.
The next time you see someone railing in the streets -- fighting a battle you'll never understand -- you may remember Keane and pause to reflect.
As good as Lewis is -- and he's in every frame of this 93-minute movie -- it's Kerrigan's astounding gift for addressing the wounded that demands celebration.
Audience Reviews for Keane
A disturbed man spends his days wandering around the Port Authority searching for his daughter who was abducted a year ago; is he sane enough to help take care of his welfare-hotel neighbor's daughter, who's about the same age as his lost girl? A well-intentioned and humane character study that suffers in comparison to the writer/director's more intense schizo dad debut, CLEAN, SHAVEN.
A father who had his 7 year old daughter abducted roams the streets obsessively retracing his steps, consumed by guilt and self loathing. Sunshine and lollipops, Keane is not. It's an intense character study of a man whose life has been destroyed by a tragic event, leaving him a mentally ill piece of emotional wreckage, unable to cope with the memories of what has happened. Damian Lewis puts in an amazing performance, especially since the camera never leaves his side for the entire duration of the film and it's an extremely worthy and intelligent piece of film making. Enjoyable it is not, however. The experience is a little like that of Requiem For A Dream; the emotional time bomb was a bit like the anticipation of having a large plaster ripped off a particularly hairy area, or waiting in line at school for a painful injection. It's an extremely intense and creditable experiment that will probably make you a little less judgemental when seeing a "crazy person" on the street, but I sure as hell wouldn't take a date to go and see it...
Kerrigan explores some darker parts of the mind as Lewis searches for his missing daughter. The realistic way in which Kerrigan shoots has the film covered by an uncomfortable sense of dread. Lewis gives the performance of a lifetime, rarely off-screen, and often acting against himself, Lewis captures the desperation and tragedy, as well as the flaws that any human has. Breslin gives another example of why she will become one of the world's greatest actresses and Ryan continues to impress. Every role is played with subtlety, and there's no non-digetic music to intrude on proceedings. A little bit of wonderful, delivered at a thoughtful pace.
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