Here's the problem: Maddin is an impressive filmmaker. He is important and has made at least two films that are important to me. But he is not a very interesting person. So when he applies his mastery to making a personal film - a film essentially about his dreams and demons, it turns into something of a tragedy for the opportunity misspent. This really is a wonderful film in the way it is put together. The whole team seems be closely attuned, with a central role played by the editor. The sound effects are astonishing - and this is a silent film. The references, duly abstracted, from past masterworks are copious and respectful. The narrative structure is suitably complex with manifold overlapping metaphors. The problem is that what we actually get directly from him is boring. Sex and mothers matter; dreams are real; nothing recedes. But we knew that better and more deeply than he shows. Ted's Evaluation -- 2 of 3: Has some interesting elements.

This newer Guy Maddin project tries admirably to be progressive and inventive, but ultimately falls into the oldest movie pitfall of all -- that of dullness. Viewers hoping to revisit the brilliance Maddin showed in "The Saddest Music in the World" will probably be disappointed, as the story and characters in "Brand Upon the Brain" are hopelessly lifeless and under-developed. Essentially a very hyperkinetic silent film, "Brand Upon the Brain" tells a semi-autobiographical tale about a younger Guy Maddin, who, after hearing word of his mother's ill health, revisits his families' private Canadian island to paint its special lighthouse, as well as bury the ghosts of childhood lost. This is primarily a story about family, forgiveness, and burying the hatchets of past indiscetions. The story seems to say, basically, that you can't pick your family, and its important to love them despite problems and indifferences. Its a pretty noble and well intentioned film, really, but also a curiously lifeless one. The movie's exaggerated Expressionism and frenetic style quickly become repetitious, and it is difficult to feel attached to any of the characters, as each is on screen for only seconds at a time. The film has its moments, I suppose, but they are drowned out listlessly in the tide of repetition and general tedium. This one was a disappointment. (PS: This film toured major cities as a live performance, with guest narrators and symphony accompanyment. Included on the DVD are about seven of these taped narrations, essentially giving the film eight possible audio tracks). I admire what Maddin was trying to do here, but I can't argue it worked. ---|--- Reviews by Flak Magnet

Brand Upon the Brain! is Guy Maddin's 2nd film in an autobiographical trilogy, which started with "Cowards Bend the Knee" (2003) and ended with "My Winnipeg" (2007).I have been a fan of Maddin for a long time and absolutely loved The Saddest Music in the World (2003) but Brand Upon the Brain! is by far the best film I have seen by him (I have yet to see My Winnipeg which also got rave reviews).Maddin is one of the few directors who still makes silent films. This film is in fact only partly silent. There was a short time when silent films had soundtracks (music and sound effects), and Maddin does the same thing here. He also uses a narrator, but they where sometimes used at the time of the silent films (then live), especially in Japan.The film is pure surrealism. It is autobiographical in the same way as Kafka was in his books. It has the humor of Marc Caro and Jean-Pierre Jeunet and the horror of David Lynch. It is, in a nutshell, insane and amazing. Strongly recommended to anyone interested in Avant-Garde cinema.

With the exception of a few brief seemingly random shots, Brand Upon the Brain! is shot (or made to appear in post-production to be shot) in grainy black and white. The look is reminiscent of David Lynch's Eraserhead, a classic that may have been an influence, though the style is quite different. Maddin's film uses much more frenetic editing techniques, particularly frequent cutting to create an abrasive subliminal effect from which the title appears to be derived.I use the term 'abrasive' and for some people that might be a negative, but I found it effective. The film uses captions and along with a neo-silent-era visual design, it has the effect of a coherent experimental film with a bizarre horror narrative. A man, Guy, returns to the island orphanage of his parents after a thirty year absence, on the request of his dying mother. It turns out the parents were subjecting the orphans to some peculiar activities from which Guy escaped.I found the design, high-contrast lighting and editing techniques effective in conveying a bizarre nightmare-type of story, a horror film that is not entirely original in narrative nor design, yet original in its presentation. I liked the voice-over narration by Isabelle Rosellini.There are some very attractive characterisations and depictions of inoffensive perversity. Definitely worth a look.