Keep the Lights On

User Score

Universal acclaim- based on 15 Ratings

User score distribution:
  1. Positive: 13 out of 15
  2. Negative: 0 out of 15

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User Reviews

  1. Sep 4, 2014
    An often painful and brutally honest look at love and romance. This film proves that gender makes absolutely no difference... love is love--no matter how tough love is. A fine debut from Thure Lindhardt as Erik.
  2. Nov 10, 2012
    This review contains spoilers, click expand to view. I don't understand why it's 'hip' to remake material we've all seen before with a 'gay' label. If someone has never had experience with addiction, this film might do something. But it skirts its responsibility to delve deeper into the treacherous aspects of bottoming out and recovery - we go from 'just using' to a full-on intervention full of characters we've never met. And then suddenly, "shazam!" they're procaiming their love for each other again.

    I found the lead actor distracting - nothing against a foreign accent, but this brought nothing to the film except some unwanted comic parody. I didn't find either believable, and feel that this is another 'make a gay movie' from an angle that once all gays see the light and adopt the broken, pathetic marriage and relationship system of straights, the world will then be all good, golden and complete.

    Addiction is a serious disease, and far more rampant in the gay demographic than anywhere else. This film doesn't do much to shed new light, despite the title.

Awards & Rankings


Generally favorable reviews - based on 26 Critics

Critic score distribution:
  1. Positive: 22 out of 26
  2. Negative: 0 out of 26
  1. Reviewed by: Mike McCahill
    Nov 4, 2012
    Every frame pulses with hard-gained experience: it may be the most lived-in film of 2012, and certainly counts among the most moving.
  2. Reviewed by: Kimberley Jones
    Nov 1, 2012
    Keep the Lights On feels like a first-rate, late-Seventies experimental student film, or early Scorsese. But then the cycle of addiction takes over the film, and the plot about stagnancy ends up stagnating the film itself.
  3. Reviewed by: William Thomas
    Oct 29, 2012
    While not quite on a par with Andrew Haigh's "Weekend," this is still an undeniably powerful piece of filmmaking.