In the run-up to Osgood Perkins' Keeper , the director's third feature in a year and a half, Neon told outlets it wouldn't be screening for the press. "To preserve the mystery," or something like that. The decidedly unusual practice of withholding was either an effective marketing ploy or else an attempt to gaslight the industry into thinking Perkins had something especially interesting on his hands when, in reality, they knew it was a lemon best kept out of the limelight as long as possible.

Whatever the case, that hush-hush approach is an inadvertently solid mirror to the film itself, which frustratingly keeps everything at bay for as long as possible. Until the film's literal final moments, in fact. A mystery box of increasingly silly proportions, Keeper stinks of a filmmaker who

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