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Just perfect...

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

This movie feels like it was made purely to piss off people who want good shows

Dark and textured. This is a adult parable/fairytale about Love & death steeped in victorian-age clockwork magic. The scenes rendered in almost antique "stop Action" animation has an eldritch/creepy feel to it that keeps the viewer on the edge of feeling like he was watching someone's beginning nightmare, or a fever dream on the verge of going very wrong.For those of you who care-- Although the story never crosses the line: there is a light stream of dark eroticism running through this movie-- so ADULTS ONLY, folks! This movie is NOT FOR KIDS. Mind you, it is tastefully done, whatever your morals. The storyline is. . .obscure yet evocative. It echoes of something I can't quite pin down I won't repeat what others have said except for the Main Reason for the entire Adventure. An Beautiful Opera Singer dies, and is brought to the weird clockwork isle of Dr. Droz to be magically revived as part of his clockwork art/machines.This isn't a Storyline or a Plot, really, it's a description of what you start with. What the STORY in this movie is ACTUALLY about is still hard to wrap my mind around-- except that it's deeply woven in the characters and the soft, twisty, multi-meaningful dialogue about Desire and Death. Having said that, I never once hit the FF button, and I PAUSED the DVD when I had to leave for a moment.This movie is more aptly a literary event for the eyes and the mind. Best viewed with the lights and cellphones OFF. Gag the Girlfriend for good measure while you're at it. I don't expect her to pass this test.

What an amazing movie - so strange, so romantic, so beautiful, so different, so dreamy, so delicate, so imaginative. This is a film that should be seen if only because it is one of the most beautifully shot films of the last several years. Praised to the high heaven "Pan's Labyrinth" simply pales and disappears in comparison. The Brothers Quay are the visual masters with astounding talents for capturing dreams and transferring them to the screen in the most hypnotizing ways imaginable. We may not be able to always understand the meaning of a dream by trying to interpret its objects but it would not stop us from feeling the beauty and magic of the film. There is a story of course, a fairytale about an evil doctor who abducts a beautiful opera singer with a magnificent voice whom he wants to transform into a mechanical singing device and a piano tuner of earthquakes who falls in love with her and tries to save her but every image and every sound of the movie are the story themselves. Everyone who feels at home in the worlds of David Lynch or Peter Greenaway, Luis Bunuel or Jan Svankmajer, Guy Maddin or the Brothers Polish; who is impressed by Georges Franju's "Les Yeux sans visage", Jean Cocteau's "Belle et la bête" (1946), by both Patrick Susskind's and Tom Tykwer's "Perfume: The Story of a Murderer" (2006), and by dark romantic fairy tales of E.T. A. Hoffmann, should see and listen to "The Piano Tuner of Earthquakes", the film which charm starts with its title. Excellent , and according to my own grading system, a visual and sound masterpiece, I wish I'd seen it in the theater

Anyone who has seen a Brothers Quay film realizes that narrative is irrelevant, and image is everything. Clock-like 19th century mechanisms appear as a regular motif. By creating an anachronistic, scientific wonder their films derive their greatest strength.The basic plot of THE PIANO TUNER OF EARTHQUAKES could have been lifted right out of a story by German fantasy writer and composer E.T.A. Hoffmann. It concerns a piano tuner who travels to a distant estate, owned by an elusive doctor. This doctor owns a number of clock-like mechanisms (automatons, he calls them) which will be used to create a grand opera. He requests the tuner to get the automatons in perfect-pitch working order. There's a subplot involving a beautiful opera singer whose life may be threatened by performing in the doctor's upcoming production.PIANO TUNER OF EARTHQUAKES was shot in color, on High Definition video. Most of the daytime shots are enveloped in a haze. The color seems muted. Many composite shots with painted backgrounds are used. There's an ethereal feeling to the images.The worst parts of the film are where the narrative is forcefully injected. Some story bit is clarified, and that tactic makes it seem like a cheap, thoughtless movie. Only when sound effects, music, and visuals are used, with no dialog, the emotional effect is stunning.This is NOT an easy movie to watch. Watching this is about as fun as listening to a piece of music by Schoenberg or Webern. However, fun or entertainment isn't the point. This film questions convention.Stop-motion animation shots, for which the Brothers Quay are best known, are used sparingly.The music often seems inappropriate, very 1940's Hollywood sounding - and quite frankly, I found it distracting; it made everything seem more artificial than perhaps intended.Overall, THE PIANO TUNER OF EARTHQUAKES gives one the impression of a moving-photograph gallery. And photographs are usually viewed best when you are not told what to think of them, but instead, are allowed to let your mind wander free from conventional thought, and dream a picture's story for yourself.

This is not a movie for people who do not know a great deal, and people who are not willing to think - the authors, whoever they are, made a great film, but not for people who do not like to work their brains - the Heros of the story are Dr. Droz, and Assumpta. In the end, Assumpta becomes Dr. Droz, as the assumption of the movie is that all enlightened people are spiritually one. The puppet is that part of Assumpta that was not quite enlightened, and the tree she cuts down represents all the unenlightenment in her life found in her friends and herself - when she finally becomes one with all the other enlightened people in the world (at the end of the movie), we see her looking in upon the lives of the piano tuner, and Malvina, who represent people who have tried to be enlightened, but gave up forever, and are now being used by the Droz to teach the world about the fact that it is being controlled and managed by a secret organization of Enlightened Masters who are one with each other completely. There is not even a slight hint of illogic in this movie, maybe that is why you might be having a hard time understanding it - I have yet to see a comment that even gets close to grasping the profound meaning of this movie - no one has a clue, and that is too bad - you would think that a professional critic would at least have some clue as to what the movie wants to say to the thinking world!