Couldn't agree more. I like all of Maddin's films except this one and Twilight of the Ice Nymphs.
This one is puzzling. I want to like it significantly more than I actually like it. Jason Patrick is great, and the best DSLR cinematography I've seen yet. But it just doesn't hit home thematically the way something like "Saddest Music" does.
The film dithers between relying on weak plot and abstraction, which comes off as inane, as neither elements are strong, or benefit from juxtaposing one other. Digital is not a good medium for Maddin; his dreamlike, eccentric cinema suits the otherworldly textures of celluloid. Keyhole is described as a film about a man's personal odyssey. For me, it's an odyssey to nowhere, with very little in between.
Not very good, Guy Maddin's films get lost on me and clearly this is one of them. He tries way to hard to be artistic which comes across as pretentious. I get the story but it just fails to keep me interested. I've always admired Jason Patric as an actor and he does a good job with what he is given.
Nonsensical in its obscurity, abstract impossibility bludgeoning everyday you & me like pop art immediacy of the few over intimacy for the many; like Buñuel‘s eyeball-razor burdened by the symbolist when he was aiming for the antithesis of meaning. Result is quixotic, no more available or rewarding, leaving Keyhole deflated, confused & disappointing. Much more - http://rorydean.wordpress.com/2012/06/25/keyhole-2011/
Maddin's most radical movie. I would be lying if I said I didn't love it, I also would be lying if I said I completely understood it. He is completely unfiltered here and for some people, I can see that being a turn off. But if you're willing to go down that ride, you'll find a movie that's full of absurdity and nightmare. The ending is truly haunting.
Though Staczek is credited for music, The films sound design often veered into this murky territory where, it's not score, but it's more than just effects. The sound design was the music to me, and Justin Gurdebeke, who was credited as the mixer also got an"additional music by" credit. Not quite sure who to fall in love with here.
Jason Patric gets addicted to drugs and then him, Jennifer Jason Leigh and the guy from Goodfellas solve a crime. Then he gets hair through doors and the guy from Kids in The Hall shows up, but is a ghost and bangs this lady. Then more ghost things happen, a joke is told and Ray Liota gets up and goes HEY MUH FACE and kills Jason Patric. I think. I could be wrong. It was really out there.
A gangster makes a strange, phantasmagorical journey through his home to his wife who has cloistered herself behind a locked door in Guy Maddin's latest extension of silent era avant-garde. Although it is not a silent film like most of Maddin's work, its plays on some of his favorite psychoanalytical and sexual themes as it explores the painful history of this family using wild and imaginative imagery.
Somewhat seems to belong to a genre that may well be called 'reviewer's cinema'. A cinema designed to be wriiten about, explored, analysed. A cinema in which we are supposed to look for meaning, look for references (Von Sternberg, Bunuel and Lynch come to mind here) and validate the director's intent. Sometimes over-reaching and compensating for work that just might not be up to the auteur's usual panache.
A naked man in chains, a drowned girl floating between two worlds, a ganster moll with keith haring influenced lingerie,the black and white film noir/silent cinema homages, the repeated words '...remember, Ulysses, remember...'; we must have entered the world of a Guy Maddin film. A somewhat lesser effort from Maddin not nearly encroaching upon 'My Winnipeg', 'Gimli' or 'Careful'. Never dull excursion into digital.