Stunning imagery and a dreamy sequence that would've made the Surrealists proud. Maddin has matured since 'Careful' and 'The Saddest Music in the World'. The stylistic tribute to the silent era is a perfect match with his autobiographical story about revisiting old memories. The film can feel slightly pretentious but it's grounded by its fascinating mixture of the realistic and the bizarre, the affectingly personal along with the absolutely confounding. Even so, a bit too weird for me.

It's weird, creepy, imaginative and unlike anything else out there.

Guy Maddin's revisionist history of Guy Maddin. Guy Maddin's revisionist history of Cinema itself. Maddin's kind of cinema strives for truth - not BEHIND the Secrets!, but WITHIN the Secrets! Contradictory? Naturally.

I could watch Guy Maddin's frenetic, whimsical, magical, humourous, fun, creepy, sexually charged, breathless, overflowingly nostalgic dreams/nightmares for days. I%u2019m not sure quite what it is that has me so head over heels for this film, other than everything about it. As Maddin attempts to paint over the memories of his past instead he finds himself trapped by them. Also as a harpist how could I not love this film?! The harp-playing detectives!

Maddin at his most impressionistic and poetic, while still retaining his playful absurdist edge. Captivating.

Everything about this is telling me to love it, and yet, my resistance stays strong. The whole thing just feels tired at a certain point (though, never too strongly).

"The presentation is the usual Maddin dreamlike, surreal but jumpy B&W, with too much aggressive editing in some parts (especially the first 30 minutes which features an average of 2 seconds per shot), and one unique gimmick: The film toured the country accompanied by an orchestra and a live narrator... I find the narration annoyingly obtrusive, ruining the magic of the film every time it starts up again."

Without any hyperbole, I think I can safely say that I've never seen anything quite like this in my life.

May be the most Guy Maddin of all Guy Maddin films. Filled with his obsessions with German Expressionism, B-movies, fairy tales, and general batfuck insanity, this film is probably the best introduction to Guy Maddin's style, and one of his most captivating. Maddin is definitely the most interesting film-maker working today, and every film of his is an event.

3 Shaqtaculars

The visual design, the editing, and the fantasy logic are fantastic. All the elements come together to create a truly unique cinematic experience.

Story and the style is engaging. But the rapid cuts are too tiresome after 10 minutes and doesn't work in an otherwise wonderful movie's favor.

Breathtaking. Maddin's style reaching its summit. Glimpses revealed themselves in "Careful", "Saddest Music..." and "Cowards bend the Knee", but here the fragmentary "blink-and-you-miss-it" editing, great compositions and weird, dark humor really come together and is even rendered touching, heartfelt through Rosselini's great narration and the all around expressive acting. I thought this approach only worked in short films (his superb "The Heart of the World"). I was wrong. This is cinema.

Maddin gives us a heavily impressionistic look at his childhood, complete with teen detectives, gender shenanigans, brain-drinking parents, and resurrection. As always, his visual style is strikingly unique, and the accompanyment of live music, foley and narration is a great idea. The frenetic editing can be taxing, however. Having to absorb so many images makes the movie feel much longer than it is, and although I mostly enjoyed it, I think Maddin would be better off working with short films.

It's unlikely you will walk away from this without some strong opinions. Maddin, you'll either love him or hate him, but if you're not sure, try this one first.

Not really that clever, funny, or engaging, even if you see it live

"...a tattered, brittle thing of sublime beauty that is as stirring as it is decrepit..."

Just seemed mediocre. I don't care about your childhood, sir, unless I care about you.

It is clear that so very much effort went into this production, I don't even want to imagine editing this film. It seemed like there was a cut every 2 seconds or so, and I respect Madden's unique vision. Despite that, it's just not my cup of tea.

Maddin's epressionist gaze works as always.