Keyhole Reviews

  • 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

  • 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.

    Peter Bradshaw

  • 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

  • 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

  • (Keyhole movie review at EmanuelLevy.Com)

    Emanuel Levy — EmanuelLevy.Com

Top Movies