Eleştirmen yorumları

Damian Lewis gives the performance of his career in this involving, compassionate picture... [Keane] is a riveting portrait of a man on the edge of an abyss: an abyss of poverty, of insanity and despair - but, importantly, he is not quite over the edge yet.

Few movies probe as deeply into the souls of the mentally damaged as Lodge Kerrigan’s heartbreaking new thriller, “Keane.” Fewer still start right off by emphasizing the more troubling aspects of derangement. Kerrigan all but dares you to keep watching his central character during the early scenes.

Lewis delivers a sensational performance in a movie that is thoroughly dependent on his work. Actually, the film is more of a three-way affair among Lewis, Kerrigan, and Foster. They sink in their hooks and don’t let go of the viewer until the very last minute.

The camera regards [Lewis] mercilessly, and his performance involves us because he portrays not hopeless madness but his drive to escape his demons.

While [Keane] has its moments, it does not measure up to the standards set by [Kerrigan's] earliest success... Throughout thefilm, Kerrigan plays an elaborate and tension-filled game with our expectations and fears, because we really don't ever know exactly what's going on.

Keane comes across as a man possessed, a father engulfed by tragedy, the linchpin in some evolving thriller. That he may be all three things at once is what gives this greatly discomforting film its torque as well as an unexpected jolt of deep feeling.

Kerrigan withholds so much that the question insinuates itself - did [Keane] even have a daughter in the first place? The tension is there all right, but Lewis also supplies the movie's saving grace... [and his] gentle care proffers some hint of salvation, so that this dark, 'difficult' film may end on a declaration of love.

Throughout Keane, any initial sense of intimacy or empathy is quickly subsumed by and abandoned for a cool intellectual distance... As such, it quickly becomes apparent that Kerrigan is as oblivious about and disdainful toward his lead character as he presumes his audience to be.

Very similar to its predecessor, [Clean, Shaven,] in its deep burrowing into the disturbed mind of a father looking for his daughter, [Keane] lacks some of the previous film’s sharper edges, literally and figuratively, but is equally convincing as a portrait of a marginal man gone beyond the emotional pale.