Excellent, Without a doubt!!

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

The acting in this movie is really good.

This is an absolutely stunning-to-watch and well crafted animation. I was so intrigued by how it was done, I had to watch it again just to follow the story, never mind the incredible music by Tool ( song is from "10,000 Days"). This show reminded me of watching the Wizard of Oz, muted, while listening simultaneously to Pink Floyd's Dark side of the Moon. Fantastic!

We feel as if we're in a completely different world watching this -- and not necessarily just because of the animation, which is spectacular. It has more to do with the architecture of the images, and the way the camera investigates the space -- you feel as if you're in a shoebox, tinted with brown-gold sepia tones of rot. The way the camera moves is really very striking. For the comparisons to Kafka, I think it's specifically in the dislocation of the image that the Quays bring out his influence. This film is as if Jack Skellington went down the wrong tree. (The eyeless dolls must have influenced "Toy Story"'s horror sequence.) We're in this strange, unfamiliar place, and the camera slides around in very smooth yet jittery movements as if our eyes. We see objects like screws move around on their own, and objects drop calmly as if the sky is falling; our vision is distorted as images of our hero are stretched. I haven't read the Bruno Schulz, so I'm pretty much limited strictly to experiencing this visually. 10/10

Not an imitation, rather an homage to Jan Svankmajer, the Borther's Quay can be a little unsettling to the uninitiated. They are well worth the price of admission and then some. Always a rich tapestry of the imagination gone wild, this collection of short films is effective both for the heart and the head. That these brothers have not gone on to blockbuster status is either a testiment to their great artistry or a testiment to La La land's great stupidity in not scooping up the brightest minds in the business. Here is somthing new.

I've seen this three times, once in 35mm, once in 16mm (or through a dim projector bulb) and once on video. The first time it impressed me, short as it is, as one of the best horror films I'd ever seen, if not the best. The second and third time, to my disappointment, it didn't work very well because I couldn't see it properly. Some of the detail is gossamer-fine and must be seen in a clear print on a theatrical screen (or perhaps a large-screen TV) to be seen at all. The film is elusive enough anyway. Like many of the Quays' films it takes the viewer inside a world of cracked dolls and pieces of antique machinery, where the dolls are victims of totalitarian control. Of the Quays' short films I've seen, this is the most disturbing. It's best seen, I think, apart from the others, as I first saw it. The other major ones are of a piece with it and become somewhat redundant taken in a group. The slighter ones are also somewhat tedious. The general meaning of this is clear enough, but the exact topical application, if there is one, and if it isn't explained by the quotation given, which I didn't recognize, is obscure to me. I also wonder how serious the filmmakers are when they use, and use up, their style and technique on music videos. I prefer to think of this film as I came to it originally, as one of a kind. It's an unnerving experience.