Avaliações do Metacritic

An expertly timed, painstakingly assembled and endlessly engaging game of cat and mouse, Grand Piano succeeds as a whole for the same reasons that Selznick does—namely, because Mira brings all of its elements to work together in concert, and then executes them like a virtuoso.

Making this kind of thriller has all but become a lost art, yet Mira clearly believes that high style is worth bothering with.

The young Spanish director Eugenio Mira and his American screenwriter Damien Chazelle have fun paying homage to the pulpy potboilers of yesteryear.

Wood’s energetic, tightly wound performance carries the movie; his ability to juggle all the different information coming at him — keeping time on the piano while speaking and hitting his cues — is admirable and probably exhausting.

That it all ends on a somewhat flat, false note is less a failure of the filmmakers than it is a testament to a certain amount of overzealousness in the screenplay – which, of course, echoes the nail-gnawing tension unfolding onscreen. Bravo!

Eugenio Mira thrills in watching his main character attempt to worm his way out of a most unusual hostage situation, synching his indulgences of style to the pianist's wily physical maneuvering.

A nail-biting thriller in the classic Hitchcock style.

To its credit and sometimes detriment, Grand Piano keeps a frothing-at-the-mouth level of insane melodrama going for 75 minutes, aided by Wood’s sweaty, terrified performance, a screenplay rich in ridiculous contrivances, and a swooping camera that never stands still.

This is hardly a symphony of terror, but it’s still a solidly composed exercise in suspense.

While absolutely nothing in Grand Piano makes the least bit of sense, it is admittedly gorgeous to look at and listen to. Give Mira a decent script, and he might be a director to be reckoned with.