Wasted talent : good cast, filming & acting. MADDIN has style, yes, but the're is no story & so much confusion. Useless gay scenes. Who finances these sub-Lynch productions ?? - - - - - - - - -Du talent gaspillé ... Le casting est bon, la manière de filmer et le jeu des acteurs aussi. Du style oui, mais si peu d'histoire, tant de confusion & d'ennui! Scènes gay sans intérêt. Qui finance ces productions sous-Lynch ?
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.
Well, it was okay, I wish I'd liked it better -- not as good as BRAND UPON THE BRAIN! or MY WINNIPEG. The Maddin Magic brings the film to life on occasion, but there's too much of MULHOLLAND DR.'s distancing puzzle-mechanics for me to really find the proceedings terribly interesting.
The way I approach Maddin films is to not watch them the first time too closely. The first time is just to get an idea of what's going on. The real pleasure comes when you watch it again and see the way it's stiched together in pleasing patterns.
WOW! It's like David Lynch channelling The American Astronaut to create a surrealist nightmare that also somehow feels like drug psychosis. It's extremely well executed but I'll need to watch it again to get to the bottom. 3.5 stars
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.
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.