The Playlist by Todd Gilchrist

An expertly timed, painstakingly assembled and endlessly engaging game of cat and mouse, Grand Piano succeeds as a whole for the same reasons that Selznick does—namely, because Mira brings all of its elements to work together in concert, and then executes them like a virtuoso.

Hitfix by Drew McWeeny

The sheer sly joy of the filmmaking that is on display here is one of the reasons I go to movies.

Village Voice by Stephanie Zacharek

Making this kind of thriller has all but become a lost art, yet Mira clearly believes that high style is worth bothering with.

The A.V. Club by A.A. Dowd

For all its virtuosic showboating, the film belongs as much to its screenwriter, Damien Chazelle, as it does to its director, Eugenio Mira.

RogerEbert.com by Susan Wloszczyna

A tidy and tension-filled exercise in terror that takes stage fright to literal extremes.

Rolling Stone by Peter Travers

The ending is a TVish cop-out. But until then, watching Wood sweat emerges as a pulse-pounding experiment in terror.

Film.com

Wood’s energetic, tightly wound performance carries the movie; his ability to juggle all the different information coming at him — keeping time on the piano while speaking and hitting his cues — is admirable and probably exhausting.

The Hollywood Reporter by Stephen Dalton

The young Spanish director Eugenio Mira and his American screenwriter Damien Chazelle have fun paying homage to the pulpy potboilers of yesteryear.

Los Angeles Times by Robert Abele

Not all the right notes are hit in Grand Piano, but for an elegantly schizoid B movie, it's more B-sharp than B-flat.

Film.com by Jenni Miller

Wood’s energetic, tightly wound performance carries the movie; his ability to juggle all the different information coming at him — keeping time on the piano while speaking and hitting his cues — is admirable and probably exhausting.

Austin Chronicle by Marc Savlov

That it all ends on a somewhat flat, false note is less a failure of the filmmakers than it is a testament to a certain amount of overzealousness in the screenplay – which, of course, echoes the nail-gnawing tension unfolding onscreen. Bravo!

McClatchy-Tribune News Service by Roger Moore

A nail-biting thriller in the classic Hitchcock style.

Slant Magazine by Ed Gonzalez

Eugenio Mira thrills in watching his main character attempt to worm his way out of a most unusual hostage situation, synching his indulgences of style to the pianist's wily physical maneuvering.

Time Out by Keith Uhlich

This is hardly a symphony of terror, but it’s still a solidly composed exercise in suspense.

The Dissolve by Nathan Rabin

To its credit and sometimes detriment, Grand Piano keeps a frothing-at-the-mouth level of insane melodrama going for 75 minutes, aided by Wood’s sweaty, terrified performance, a screenplay rich in ridiculous contrivances, and a swooping camera that never stands still.

New York Post by Sara Stewart

While absolutely nothing in Grand Piano makes the least bit of sense, it is admittedly gorgeous to look at and listen to. Give Mira a decent script, and he might be a director to be reckoned with.