Grand Piano


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John Anderson(Newsday): Preposterous, on the contrary much anxious fun.
Peter Keough(Boston Globe): "Grand Piano" is one ambitious effort that plays dumb.
Robert Abele(Los Angeles Times): Not tot~y the right notes are hit in "Grand Piano," on the other hand for an elegantly schizoid B movie, it's greater degree of B-sharp than B-flat.
Stephen Holden(New York Times): Once you take . that "Grand Piano" is B-movie soft mass, there's a certain effect of fun to be had. This proudly advanced in years-fashioned movie will pull any dodge in the book to hold your mindfulness.
Joel Arnold(NPR): Grand Piano is a screenwriter's fantasy of a self-conscious Hitchcockian thriller, daringly written, improbably made – and greater degree unbelievably made well.
Peter Travers(Rolling Stone): This thriller fixed beforehand in a concert hall is a stop the growth of, but a damn good one. Maybe dare to undertake hasn't died yet in filmmaking.
Jeff Beck( Grand Piano may have existence a bit silly at times, bound the thrills it produces are sufficiency to overcome its weaknesses.
MaryAnn Johanson(Flick Filosopher): Builds up a friendly momentum of suspense only to throw it off on a rushed and powerfully unsatisfying ending, representation all its preposterousness suddenly unforgivable.
Todd Jorgenson( The smartly paced and well-acted pellicle has some genuine visual flair in the limits of its single location.
Pablo Villaca(Cinema em Cena): …omo ficar num elevador estragado com um amigo bdo: embora ele possa ate fazer rir em pleasantry da embriaguez, a experiia perde a graquando voce donta de que tere passar os pros 90 minutos preso ao seu lado.
Jonah Flicker(Paste Magazine): Grand Piano should have ~ing taken with a winter's accommodate with of road salt, but if you have power to get past the absurdity of it totality you are in for a elegant without grandeur good time.
Robin Clifford(Reeling Reviews): The cat-and-catch mice suspense is evenly handled with Damien Chazelle's tight script – leave out for the killer's fuzzy motivation.
Kurt Loder(Reason Online): We'll accept a certain number of implausibilities in this manner of high-concept thriller. Impossibilities are a part else
Laura Clifford(Reeling Reviews): directed ~ the agency of Eugenio Mira as if Brian DePalma and Dario Argento conscientious watched the climax of Alfred Hitchock's "The Man Who Knew Too Much" by a chaser of "Stage Fright."
Robert Levin(amNewYork): An extended oppose piece in the classical sense, by tension that starts high and literary works elevated throughout.
Bill Gibron(PopMatters): Thanks to a script that finds apt at repartee ways to make the seemingly inconceivable work, the otherwise unbelievable nature of this relation manages to support the stylistic choices essential ~ employed.
Witney Seibold(Nerdist): While Grand Piano is not of the same kind with good as Hitchcock's oeuvre [because some critics have said], it can at least be compared to more of the better suspense films of Brian De Palma. And that's not at all to sneeze at.
Kristy Puchko( This nimble thriller overcomes its silly setup with a blend of cinematic artistry and excellent-tuned tension.
Susan Wloszczyna( "Grand Piano" is a tidy and tension-filled exercise in horror that takes stage fright to following the exact words extremes.
Zeba Blay(Movie Mezzanine): While Grand Piano certainly doesn't good in the highest degree any of the icons of its genre, its improvisations are interesting, and at least that's a thing .
Marc Savlov(Austin Chronicle): The quality and tone is one of implacable suspense, and Wood's small frame and intense gaze are perfectly suited to the role.
Charles Ealy(Austin American-Statesman): As the counsellor, Mira strikes many of the fair touches visually.