Directed by:
Richard KellyScreenplay:
Richard KellyCinematography:
Steven PosterComposer:
Michael AndrewsCast:
Jake Gyllenhaal, Holmes Osborne, Maggie Gyllenhaal, Daveigh Chase, Mary McDonnell, James Duval, Patrick Swayze, David St. James, Seth Rogen, Jena Malone (more)VOD (5)
Plots(1)
During the presidential election of 1988, a teenager named Donnie Darko sleepwalks out of his house one night, and sees a giant, demonic-looking rabbit named Frank, who tells him the world will end in 28 days, 6 hours, 42 minutes, and 12 seconds. He returns home the next morning to find that a jet engine has crashed through his bedroom. As he tries to figure out why he survived and tries to deal with people in his town, like the school bully, his conservative health teacher, and a self-help guru, Frank continues to turn up in Donnie's mind, causing him to commit acts of vandalism and worse. (official distributor synopsis)
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Reviews (15)
Donnie Darko is probably one of those films that one appreciates fully (if at all) only on the second (or third) viewing. But what good does it do me if nothing entices me to watch it again? I can praise the actors, I can praise the direction and the choice of songs used, but the fact is that this "155th best film" with its boring and bloated "I'm something great, marvel at me" script blatantly disappointed me. A strange piece of work I let pass me by for years... And I was right to.
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It is said that some films age like fine wine, but it is actually more appropriate to say that we appreciate them more or differently as we ourselves age. Donnie Darko is the ultimate eruptive debut and a distillation of everything that its creator had done before. Mainly, however, Kelly succeeded in presenting a multi-layered depiction of growing up through the use of sci-fi motifs and a mysterious narrative. When you’re the same age as the protagonists, you may – like the protagonists themselves – concern yourself the most with finding an unambiguous answer for the meaning, causality and internal logic of the narrative. Paradoxically, with the passing of years, you begin to appreciate the fact that the purpose of all of the fantastical motifs and WTF elements is to enable the film to deal with and expressly depict the broadest possible range of thoughts and emotions churning in the adolescent body. The title character thus attempts to find answers to the existential questions of fate, free will and predestination, he wants to destroy and create, to live and die, he is angry at everything, everyone and himself, but he wants to be loved, or at least to get laid. Kelly created a sophisticated labyrinth full of misleading alleyways that, however, help to further examine the various sides of the protagonist, who, like all teenagers, is the centre of his own world. And that offers viewers several levels of pleasure and engagement, whether as metaphor, story, construct, mystery, projection screen or mirror. Donnie Darko is thus to adolescence what Fight Club is to masculinity.
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Donnie Darko is definitely not an ordinary movie about a completely ordinary teenager who has no delusions whatsoever about some oversized rabbit. It has an incredibly engaging atmosphere and tries to draw the viewer into the plot, only letting go near the end where the shocking (at least to me) reveal occurs. The actors are great and convincing – especially young Jake Gyllenhaal and Drew Barrymore. The screenplay is indeed a convoluted and bizarre example of a dramatic mystery, and even though I certainly didn't understand everything that should have been understood, I stand by the fact that this is an original premise full of twists and turns, especially in space-time. And the last few minutes, when we see edited shots of the film's heroes while "Mad World" is playing was a powerful albeit very confusing experience for me. In short, a film that doesn't need to be fully understood, because there is still plenty to think about for a long time.
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An unorthodox story about a high school “geek" is an impressive movie adorned with excellent acting, a well-written and original screenplay and a completely absorbing dense atmosphere. Despite all of this I can’t shake the feeling that from the whole movie somehow protrudes the fact that it could be a tiny bit better than it finally is. I would be very interested in seeing the twenty minutes longer Director’s Cut. If that’s good, I would definitely raise the score to five *.
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This intellectually stupid trend never ceases to fascinate me. As soon as there is a movie with supernatural phenomena, told non-linearly, and, God forbid, with a conclusion without a rational explanation, the world falls into mass hysteria and this place is crawling with full-fledged ratings like ants in an anthill. If I were to see this crap again, they will probably have to take me to the hospital for boredom and lack of originality poisoning. Richard Kelly relies purely on bespectacled intellectuals, who latch on like wasps to candy, and he couldn't care less that this totally disjointed film offers absolutely no rational explanation or meaning (similarly to Lynch, for example). And it's no wonder when it feels that way. A first-class muddled mess without a point. Two stars for a well-portrayed family and Mary McDonnell's performance.
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Gallery (87)
Photo © Newmarket Film Group
![Donnie Darko - Photos](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/159/722/159722518_0a7bb5.jpg)
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