Oh Canada

The movie doesn't have as much emotional weight as it should have been the narrative is so fractured.

The irony of “Oh, Canada” is that as a filmmaker, despite this misstep, Schrader is in one of the most vibrant creative periods of his life.

"Oh, Canada" is a jumble of ideas, of mis-remembered or half-invented truths, that still manages to occasionally cut to the core of the human psyche.

Leonard’s reveries are less surreal and more uncanny valley, so the film feels a bit flat-footed when it plops Thurman in a dual role belabored by a distractingly bad fright wig

Gere remains a unique camera object, with a stunning mastery of filling a close-up with an unblinking stillness conveying feelings easier left behind.

There are some moments of profound insight, and the camerawork is stylish and creative, but this is such an unnecessarily confusing story.

The change in point-of-view probably works better on the page, and Schrader never quite figures out how to make that sing on the screen.

Oh, Canada is worth seeing for its thematic ambition and seriousness, but is unlikely to impress anyone as among its maker’s better efforts.

'Oh, Canada' is a film that is not at all clear about where it wants to go or what it wants to tell...[Full review in Spanish]

Oh, Canada seems to want it both ways: there’s a tug-of-war between a desire for ambiguity and the need to spell out clear answers that will reassure viewers. Schrader never resolves this epistemological give-and-take.