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Critic Reviews for Keyhole
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.
Audience Reviews for Keyhole
"Keyhole" starts with the police cornering a gang of criminals in a house on a rainy night. Taking charge, Big Ed(Daniel Enright) separates the dead from the living, sending the former out to be taken care of. When Ulysses(Jason Patric), the boss, finally puts in an appearance, he takes care to get warm clothes for Denny(Brooke Palsson). He is also wondering about the state of his wife Hyacinth(Isabella Rossellini). So, he takes Denny and a hostage upstairs with him. If I was being unusually silly, I would say a lot of the anger at "The Artist" winning so many Academy Awards was due to the continual snubs of Guy Maddin's films. In any case, with his latest film, the partially successful "Keyhole," he moves things ahead by a couple of decades to incorporate every kind of genre popular in the 40's, short of musical, making the formerly implicit explicit in this psychosexual noir funhouse and actually manages to connect a good deal of the dots. And Maddin has the right lead actor in Jason Patric who not only has the requisite square jaw but also the ability to deal with every bit of weirdness thrown his way. That does not include the references to 'The Odyssey.'(Yes, there is a Cyclops. No, you do not want to know.) Now, if someone could just explain the naked old guy in chains.
Maddeningly Maddin. It's too much and I'm going to call him on it. Can we have a film that isn't in painful black and white with sharp scene changes and distractions that don't add to the "plot"?
A gangster ventures through his house searching for his wife, encountering tragic family memories along the way, in this surrealistic version of the Odyssey. Contains some cool ideas---Isabella Rosselini keeps her naked father chained to her bed in a sick psycho symbiosis---but it's even more confusing than Guy Maddin's usual offerings, without that spark of mysterious magic that animates his best films. Only for those who are already Maddin fans; this is not the place to start exploring his world.