Film Review: Donnie Darko (2001)

Release Date: January 19th, 2001 (Sundance)
Directed by: Richard Kelly
Written by: Richard Kelly
Music by: Michael Andrews
Cast: Jake Gyllenhaal, Jena Malone, Maggie Gyllenhaal, James Duval, Drew Barrymore, Mary McDonnell, Holmes Osborne, Katharine Ross, Patrick Swayze, Noah Wyle, Daveigh Chase, Arthur Taxier, David St. James, Jazzie Mahannah, Jolene Purdy, Stuart Stone, Gary Lundy, Alex Greenwald, Seth Rogen, Beth Grant, David Moreland, Ashley Tisdale, Jerry Trainor

Adam Fields Productions, Flower Films, Pandora Cinema, 113 Minutes, 134 Minutes (Director’s Cut)

Review:

“I hope that when the world comes to an end, I can breathe a sigh of relief, because there will be so much to look forward to.” – Donnie

This movie had a profound effect on me when I saw it in a movie theater, alone, in 2001. Once it was released on VHS and DVD, I had a copy of both. In fact, I had a version of the VHS that was released in blue plastic, as opposed to the traditional black.

Once I owned the movie, I watched it a lot. Mainly because it was so damn good and I was so damn intrigued by the vague concepts and ideas in it. There was this whole deep, mystical yet science-y mystery, which captivated my psyche.

Beyond that, the film connected with me in a way no other film has. I think that has a lot to do with my age, at the time, and because the title character and myself had similar issues. I liked seeing this character and how he was portrayed, as it felt genuine as hell and like it came from a real place from someone with similar experiences. I’m not saying that Richard Kelly is as “fucked up” as Donnie Darko but it’s clear that he knew what he was writing quite well.

I also liked how this sort of critiqued the Americana lifestyle and was set in the late ’80s, a time where American ideals seemed like they were winning and the middle class were relishing in a time of affordable opulence. Not that any of that is specifically negative, I just thought that this film looked at and examined it in an interesting way.

This is the first time I have watched the movie in probably a decade. I used to watch it so much, it was pretty much burned into my brain. Having that much time away from it, though, allowed me to see it with somewhat fresh eyes and in fact, I was a bit apprehensive about it, as I thought it might not stand up to the test of time and play as well.

Luckily, that apprehension was quickly absolved because this was just as good as I remembered it. Also, in some way, it was like rediscovering it because there were some neat details and nuance that I had forgotten about. I mean, I am starting to get old.

The film is pretty close to perfect and it is so well acted that you get ensnared by it. It’s beautiful visually and narratively and it certainly deserves more recognition than it gets, even if it did establish cult status and a slew of fans over time.

In recent years, though, it feels like it’s being forgotten, as new generations come along and prefer movies with less heart and simplistic, rapid storytelling that deliver constant gratification while moving so fast that nothing in a film older than fifteen minutes seems to matter. Look at the ninth Star Wars saga film and you’ll see what I mean.

It’s sad that Donnie Darko sort of feels like a relic now. At the time, I had hoped it was a bright beacon at the beginning of a new millennium that would help inspire smarter, more original movies but the Michael Bays and J. J. Abramses won out.

And sadly, Richard Kelly tried but was never able to capture the magic he had here with his feature length debut.

Rating: 9.75/10
Pairs well with: this is pretty unusual but I’d say Richard Kelly’s other films: Southland Tales and The Box.

Film Review: Inherent Vice (2014)

Release Date: October 4th, 2014 (New York Film Festival)
Directed by: Paul Thomas Anderson
Written by: Paul Thomas Anderson
Based on: Inherent Vice by Thomas Pynchon
Music by: Jonny Greenwood
Cast: Joaquin Phoenix, Josh Brolin, Owen Wilson, Katherine Waterston, Reese Witherspoon, Benicio del Toro, Jena Malone, Maya Rudolph, Martin Short, Joanna Newsom, Hong Chau, Eric Roberts

Ghoulardi Film Company, Warner Bros., IAC Films, 148 Minutes

Review:

“Well, it’s dark and lonely work, but somebody’s gotta do it, right?” – Petunia Leeway

I had really high hopes for this film.

It’s directed by Paul Thomas Anderson, who everyone, even their pets, loves. It stars Joaquin Phoenix, Josh Brolin and a superb supporting cast. And, well, it’s a neo-noir set in the early ’70s that looked damn cool from the trailers.

Sadly, this was duller than an unsharpened pencil.

I kind of hate that I didn’t dig this but it was really hard for me not to nod off through almost every really long, drawn out scene. Frankly, the film didn’t even need to be two hours, let alone 148 minutes.

Visually, the film is stunning. Every scene and every shot looks pristine and perfect. But that’s not enough to carry a movie. I can see cinematography of the highest caliber in television commercials and music videos.

The thing is, the narrative needs to be as exciting as the visual allure. It needs to capture you, hold on and at least try to leave you breathless until the final frame.

I watched this movie and was so disinterested in it that I couldn’t remember what the film was about, where it needed to go or why Phoenix was investigating things. I felt like my mind was as numb and disoriented as the majority of the characters in the picture.

If you like movies solely for visuals and great soundtracks, than this may be your bag.

It wasn’t mine though.

Rating: 5/10
Pairs well with: mind numbing drugs and a case of cheap whiskey while watching a Hypercolor t-shirt cook in the microwave.

Film Review: The Neon Demon (2016)

Release Date: May 20th, 2016 (Cannes)
Directed by: Nicolas Winding Refn
Written by: Nicolas Winding Refn, Mary Laws, Polly Stenham
Music by: Cliff Martinez
Cast: Elle Fanning, Karl Glusman, Jena Malone, Bella Heathcote, Abbey Lee, Christina Hendricks, Keanu Reeves, Desmond Harrington, Alessandro Nivola, Charles Baker

Gaumont Film Company, Wild Bunch, Space Rocket Nation, Vendian Entertainment, Bold Films, Amazon Studios, Broad Green Pictures, Scanbox Entertainment, The Jokers, 117 Minutes

the_neon_demonReview:

The Neon Demon is one of those films where I didn’t know what to think when I got to the end of it. I had to sit back and really process a lot of it.

Initially, I was impressed by it from a visual and technical standpoint but from the narrative side of things, it was hard to emotionally connect with anything in the picture.

I love watching Nicolas Winding Refn’s work because at its very least a Refn film will be a visual masterpiece. He has an eye for creating stunning visuals that stimulate an emotional drive that connects his surreal works with his characters and the audience. But while his surreal visuals get more impressive from film to film, his stories are also becoming surreal to the point that they feel like a dream sequence, as opposed to an actual cohesive story.

The Neon Demon doesn’t go as far off of the rails as his previous movie Only God Forgives. However, I do like the previous film better, overall. Maybe because Only God Forgives was a testosterone festival where The Neon Demon is the flip side of that, a film full of catty women obsessed with physical beauty to the point of committing atrocities.

The subject matter isn’t something that I care that much about. We’ve also seen variations of this story since the beginning of time. Refn still does enough to make this tale original and it crosses over certain lines that I haven’t seen yet but the impact of the actual horror was minimal, as not a single character in this film, except for Karl Glusman’s Dean, is even remotely likable. Then again, he’s an adult trying to hook up with a sixteen year-old.

Elle Fanning’s Jesse is a natural beauty and is initially innocent. However, she quickly becomes a monster, just like the other girls in the film. I can’t feel bad when she faces the wrath of the other women.

Everyone in this picture, except for one person, is so superficial and plastic that it’s like watching a violent and colorful play of animatronic Barbie dolls pretending to be psychotic vampires. And while Jesse is all-natural and the film puts a heavy emphasis on other girls filling themselves with plastic and having surgeries just to compete with her natural beauty, Jesse is probably the most plastic underneath her skin, after her transformation.

Also, I can’t take Elle Fanning seriously as a girl who is supposed to be so beautiful that she is just steamrolling over other top supermodels. Sure, she’s cute and I would say she’s a bridge between the girl next door and a model. I certainly wouldn’t put her anywhere near Abbey Lee or Bella Heathcote’s level of beauty. But beauty is in the eye of the beholder, I guess.

The acting is pretty solid and despite not buying into the Jesse character, Elle Fanning still did a great job in this picture. Everyone else put in a good performance but Jena Malone, Karl Glusman and Keanu Reeves really shine.

The film’s score by Cliff Martinez is fantastic but he has never disappointed. Having worked with Refn on several films now, his musical style is able to perfectly meld with Refn’s colorful visual surrealism. For those who may only know of Refn’s Drive, you should be well aware of how greatly the music drove the film alongside the cinematography.

The Neon Demon provides some of the most magnificent eye candy to be filmed since the last Refn picture. And while the film is certainly a memorable experience, it just doesn’t resonate like Refn’s DriveBronson or Pusher. The story is more fluid and less confusing than Only God Forgives but at least that film had characters one could relate to on some level.

I do like The Neon Demon but I don’t know if I would have the urge to see it again, other than to bask in its remarkable cinematography.

Rating: 6/10