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.
A.O. Scott - New York Times
'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.
Ty Burr - Boston Globe
The film is infectiously somnambulant, so convincingly and unrelentingly dreamlike that its sudden end mimics the sensation of snapping awake from deep sleep.
Karina Longworth - Village Voice
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.
Roger Ebert - Chicago Sun-Times
Funny enough to be disarming even when it's spinning its wheels thematically.
J. R. Jones - Chicago Reader
While it has its moments, "Keyhole'' feels like something that might have worked better as a short.
Lou Lumenick - New York Post
Count me - and hopefully you - amongst Keyhole's grateful dead.
Peter Howell - Toronto Star
"Keyhole" never comes together, but that's part of Maddin's creed. He makes movies about movies to express his love for movies, which is to say he makes movies about himself.
Eric Kohn - indieWIRE
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.
Liam Lacey - Globe and Mail
Amid the mythical allusions and the climate of decay, "Keyhole" overthinks its exploration of memory and forgiveness.
Sheri Linden - Los Angeles Times
A bravura journey into a noirish nightmare world and a lock that even paid-up Maddinites won't be able to pick on a single viewing.
Wally Hammond - Little White Lies
Strangled by its own nostalgic mad love.
Nigel Andrews - Financial Times
Maddin has always been something of an acquired taste - and he seems to be doing his utmost to keep it that way.
This rousing and tormented monochrome tale of a deadbeat gangster making an unusual odyssey through his haunted home is sordid, sinister and bafflingly brilliant.
Jennifer Tate - ViewLondon
While it's playfully inventive, it's also aggravatingly elusive
Rich Cline - Shadows on the Wall
Still too self-referential, too hermetic and too glacial to offer much enjoyment beyond the gorgeous monochrome visuals.
Tom Huddleston - Time Out
Keyhole is an enchantment of chiaroscuro compositions which float across the screen like a dream; it's an acquired taste but pure cinema nevertheless.
Emma Simmonds - The List
A peculiar film rich with varying tones and styles. It's not hard to see why Maddin has been deemed Canada's answer to David Lynch.
Ian Freer - Empire Magazine
Though self-referential to a fault, the deadpan humour, frayed logic and monochrome dazzle cast their own richly peculiar spell.
Carmen Gray - Total Film
Emanuel Levy - EmanuelLevy.Com
Maddin bathes it in his usual weirdness.
Dennis Schwartz - Ozus' World Movie Reviews
It's an exhausting feature, richly made yet punishing and baffling in a manner that doesn't invite further discussion. I suppose Maddin fans wouldn't want it any other way.
Brian Orndorf - BrianOrndorf.com
Patric's performance is a deadpan treat. His can-do, take-charge character is in continual zany contrast to his surreal surroundings.
Michael Upchurch - Seattle Times
Robin Clifford - Reeling Reviews
The film is creepy, depraved and often funny and Maddin's most perverse outing since "Tales from the Gimli Hospital," but although it compels through most of its running time, it doesn't quite sustain through the home stretch.
Laura Clifford - Reeling Reviews
Characteristically full of some beautiful and evocative images, Maddin's latest film seems doggedly intent on achieving art status merely through obfuscation.
Brent Simon - Shockya.com
Think of "Keyhole" as an avant-garde melodrama to cleanse you palate of all of the insipid Hollywood crap you've ever seen over the years. You need it.
Cole Smithey - ColeSmithey.com
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.
Stephen Whitty - Newark Star-Ledger
The film is wildly uneven and has a defiant sense of impenetrability.
Todd Jorgenson - Cinemalogue.com
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.
Black-and-white cinematography, free-association storytelling, an obsession with the past, and the presence of Isabella Rossellini...yup, it's another Guy Maddin joint.
Ethan Alter - Film Journal International
Keyhole offers no promise of landing on solid ground or breaking through the atmosphere. It's a perpetual acid-trip comedown.
Chris Cabin - Filmcritic.com
It's a story about stories, a dream about dreams and a movie about movies, the kind that rewards repeat viewings.
Dave White - Movies.com
With the locked and puzzling Keyhole, you get a sense of a filmmaker who's lost sight of how to take his audience along with him.
James Rocchi - The Playlist
Maddin looks to the past of film the same way he often obsessively examines his own, and the two can't really be separated.
Ian Buckwalter - NPR
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.
Noel Murray - AV Club
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.
Keith Uhlich - Time Out
A night of reckoning by a hoodlum in his haunted former home is a more sober and remote Freudian farrago than one expects from Guy Maddin.
Bill Weber - Slant Magazine