Metacritic reviews

Revolution #9, which is absorbing and terse, has some subtle, welcome comic relief from Spalding Gray.

An unadorned, unsparing chronicle of a young man's descent into a nightmare of delusion, paranoia and self-destructive behavior.

Just about everyone in this sharp, passionate feature is chillingly good.

By alternating between Jackson's and Kim's point of view, McCann shows both sides of the story: the panicky fear of the paranoid schizophrenic -- the arrhythmic editing and Marshall Grupp's masterful sound design convey a sense of dislocation and shifting reality -- and the bewilderment and frustration of the people who try to help him.

While the ideas about techno-saturation are far from novel, they're presented with a wry dark humor.

Looks with fresh eyes at a new millennium in which, seemingly, the entire world is bought and sold in neatly wrapped packages engineered for mass consumption.

McCann weaves in a somewhat toothless condemnation of a bureaucracy that forsakes the mentally ill, but Revolution # 9 works better as an inside look at one person's slide into madness -- and, more particularly, the impact of that on his loved ones.

McCann's point of view overwhelms the human elements of his story, but this is, nonetheless, a riveting piece of filmmaking.

Though woefully oblique and underdeveloped, writer-director Tim McCann's Revolution #9 attempts the difficult task of burrowing into the fractured mind of a modern man who loses his grip on reality.

So riddled with unanswered questions that it requires gargantuan leaps of faith just to watch it plod along, while McCann's overly broad strokes miss crucial details as he tries to mount an attack on both the power of the media and an indifferent medical profession.