Keyhole 2011

A.O. Scott, New York Times: 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. Read more

Michael Upchurch, Seattle Times: Patric's performance is a deadpan treat. His can-do, take-charge character is in continual zany contrast to his surreal surroundings. Read more

Noel Murray, AV Club: 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. Read more

Ty Burr, Boston Globe: '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. Read more

J. R. Jones, Chicago Reader: Funny enough to be disarming even when it's spinning its wheels thematically. Read more

Sheri Linden, Los Angeles Times: Amid the mythical allusions and the climate of decay, "Keyhole" overthinks its exploration of memory and forgiveness. Read more

Stephen Whitty, Newark Star-Ledger: 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. Read more

Ian Buckwalter, NPR: Maddin looks to the past of film the same way he often obsessively examines his own, and the two can't really be separated. Read more

Lou Lumenick, New York Post: While it has its moments, "Keyhole'' feels like something that might have worked better as a short. Read more

Roger Ebert, Chicago Sun-Times: 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. Read more

Liam Lacey, Globe and Mail: 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. Read more

Alonso Duralde, TheWrap: 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. Read more

Tom Huddleston, Time Out: Still too self-referential, too hermetic and too glacial to offer much enjoyment beyond the gorgeous monochrome visuals. Read more

Keith Uhlich, Time Out: 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. Read more

Peter Howell, Toronto Star: Count me - and hopefully you - amongst Keyhole's grateful dead. Read more

Karina Longworth, Village Voice: The film is infectiously somnambulant, so convincingly and unrelentingly dreamlike that its sudden end mimics the sensation of snapping awake from deep sleep. Read more