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(Examiner.com): 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(Cinemalogue.com): 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(CinemaBlend.com): This nimble thriller overcomes its silly setup with a blend of cinematic artistry and excellent-tuned tension.
Susan Wloszczyna(RogerEbert.com): "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.