friends with co-star Eric Stoltz, who also worked with him on The New Kids (1985) and 2 Days in the Valley (1996). The soundtrack prominently features the Australian didgeridoo instrument, performed by Graham Wiggins. Release and reception Keys to Tulsa received a limited theatrical release in the United States during April 1997. It was reviewed on the April 12, 1997 episode of Siskel and Ebert, which coincidentally also featured a review of another Eric Stoltz film, Anaconda. It received a thumbs down from both Gene Siskel and Roger Ebert. The San Francisco Chronicle stated it had "far too many minor characters", as well as "[more] than enough for three or four mediocre movies." Marc Savlov of The Austin Chronicle remarked in 1997, "When a film with a cast this stellar falls flat on its face like this one does, well, it makes you wanna holler." Savlov also noted that, "After the romantic interlude of Joanna Going's performance in Still Breathing (which to date has only screened at film festivals -- such as SXSW), it's a shock, of sorts, to see her as an alcoholic topless dancer with a penchant for being in the wrong place at the wrong time. Not a bad shock, mind you, just, you know, a shock. She's miscast." Deseret News movie critic Chris Hicks criticized the film in his April 1997 review. He wrote, "Writer-director Leslie Greif (Heaven's Prisoners, Meet Wally Sparks) has allowed some racist underpinnings to creep in as his characters refer with some frequency to black people by using a particularly unpleasant epithet. And there aren't any black characters to balance the film, save one — a hooker who is brutally violated and beaten to death." Hicks concluded his review by remarking, "There are some solid laughs early on, and if the humor had held up throughout it might have redeemed the picture. But instead, the film just meanders along until it runs completely out of steam." A more positive review came from Variety'''s Todd McCarthy, who called it a "wonderfully written and performed comic crime meller." He states, "Keys to Tulsa might seem on paper to be one more unneeded, late-in-the-cycle Tarantino retread. But this distinctively tasty dish adroitly mixes its genre ingredients with fresh takes on class grudges, Great Plains lifestyles, generational and family strains and life stasis in a way that makes it a satisfying meal unto itself [...] Peyton’s