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Reviews provided by RottenTomatoes
Rene Rodriguez, Miami Herald: The weirdest movie of the summer. OK, the year. Read more
Michael Wilmington, Chicago Tribune: A strange, finely-wrought movie out about the perversity of art, the hell of families and the chains of commerce, coming from a director who wallows in the former two and ignores the last. It slayed me. Read more
Moira MacDonald, Seattle Times: Watch this movie for its imagination, not its logic. Read more
Richard Roeper, Ebert & Roeper: ... shrill and annoying ... Read more
Steve Murray, Atlanta Journal-Constitution: To fully appreciate the lunatic possibilities of the film medium, consider the spectacle of Isabella Rossellini frisking around on hollow glass legs filled with sparkling beer. Read more
Wesley Morris, Boston Globe: It's a great work of absurdism, cynicism, and terrific madness. Read more
Manohla Dargis, Los Angeles Times: The Saddest Music in the World doesn't just re-create 1933 through costumes; it actually looks like a 1933 picture. Read more
Jonathan Rosenbaum, Chicago Reader: Maddin has reached a new expressive plateau. Read more
Lisa Schwarzbaum, Entertainment Weekly: Each frame of Maddin's saga will have yielded a memory of cinemania past, even for those with no clear memory of the old movies that echo in this alluring new one. Read more
Philip Wuntch, Dallas Morning News: Provocative title, provocative premise, provocative direction, routine movie. Read more
John Powers, L.A. Weekly: Surely the oddest 1930s musical ever made, in or out of the 1930s. Read more
John Anderson, Newsday: The amber-refracted comedy can serve as an introduction to the work of Canada's most original filmmaker or as a culmination of everything he's done before Read more
Stephen Whitty, Newark Star-Ledger: The style is so overdone it's nearly suffocating. Read more
A.O. Scott, New York Times: This feature from the antiquarian avant-gardist Guy Maddin is a sublime, hallucinatory musical, full of surprising humor and genuine sorrow. Read more
Roger Moore, Orlando Sentinel: Silly, sick and surreal, it's a triumph of style over message or entertainment value. Read more
Roger Ebert, Chicago Sun-Times: To see this film, to enter the world of Guy Maddin, is to understand how a film can be created entirely by its style, and how its style can create a world that never existed before, and lure us, at first bemused and then astonished, into it. Read more
Stephanie Zacharek, Salon.com: Narratively and spiritually, the movie is bankrupt, even though it's so packed with stuff ... that you can hardly bring yourself to believe that it all adds up to nothing. Read more
Carla Meyer, San Francisco Chronicle: The concept is high, the humor lowbrow and the joy of experimentation evident in every frame of this wonderful picture. Read more
Colin Covert, Minneapolis Star Tribune: It's a rare film today that doesn't assume audiences are stupid. Weird as they might be, Maddin gives us credit for being in on his esoteric jokes. Read more
Liam Lacey, Globe and Mail: Maddin speaks in an almost lost, elusive and poetic language of filmmaking. Read more
Peter Howell, Toronto Star: [Maddin's] best and most imaginative picture to date. Read more
David Rooney, Variety: McKinney's cheerfully cynical zealousness and de Medeiros' waiflike quality provide some pleasures, but the film's chief glory is Rossellini's inspired, imperiously vampy turn. Read more
J. Hoberman, Village Voice: Like everything in Maddin's oeuvre, The Saddest Music in the World is a contribution to the imaginary history of our times. Read more
Desson Thomson, Washington Post: You're left, as with certain vivid dreams, filled with memorable images but not completely able to account for what you just experienced. Read more
Stephen Hunter, Washington Post: Any film where a beer baroness's glass leg (filled with beer) shatters when a high note is struck is okay by me. Read more