Kelly's story of a brilliant, disturbed teen (Jake Gyllenhaal) drowning in the cultural morass of the 1980s now feels bloated.
Donnie Darko: The Director's Cut (2004)
Tomatometer
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Reviews Counted:43
Fresh:39
Rotten:4
Average Rating:8.1/10
Runtime: 2 hrs 13 mins
Genre: Horror/Suspense
US Box Office: $538,574
Synopsis: In a funny, moving and distinctly mind-bending journey through suburban America, one extraordinary but disenchanted teenage is about to take Time’s Arrow for a ride. October 2nd, 1988: just... In a funny, moving and distinctly mind-bending journey through suburban America, one extraordinary but disenchanted teenage is about to take Time’s Arrow for a ride. October 2nd, 1988: just another ordinary day in Donnie Darko’s teen-aged existence. He’s taken his medication, watched Dukakis & Bush debate, and had dinner with the family. Then an outrageous accident occurs, which just misses claiming Donnie’s life. As Donnie begins to explore what it means to still be alive, and in short order to be in love, he uncovers secrets of the universe that five him a tempting power to alter time and destiny. From 26 year-old first time writer-director Richard Kelly comes the provocative DONNIE DARKO, a genre busting fable that blasts the American suburban drama into a wildly imaginative realm of time travel, alternative universes and the manipulation of one’s fate. But at the core of DONNIE DARKO is the simple story of a boy trying to make a stand in a lonely, chaotic world – and discovering that every little thing he does counts on a cosmic scale. Originally screened at the 2001 Sundance Film Festival, DONNIE DARKO became one of the festival’s most talked-about and debated films, praised for blending sci-fi fantasy with an original vision of a modern suburbia teetering on the edge of dread and disaster. The question became: what is DONNIE DARKO? Is it a look back at the underbelly of the Ferris Bueller and Back to the Future era? Or is it a wild journey into multiple realities and multiple outcomes? Is it the story of an increasingly cynical, hypocritical society on a crash-course with apocalypse? Or is it a fairy-tale about a teen hero who changes the world around him? Is this the cosmic death knell of the Regan Era, or a portrait of a troubled community redeemed by the hand of God? The surprising answer is that DONNIE DARKO is all of these – a deep inquiry into the recent past and the possibilities for the future all wrapped up in the story of a teenager unlike any you’ve met before. Writer/director Richard Kelly purposefully wanted DONNIE DARKO to be vast enough to mean different things to different people. But he offers this guidance for the mind-blowing ride ahead: “Maybe it’s the story of Holden Caulfield, resurrected in 1988 by the spirit of Philip K. Dick, who was always spinning yarns about schizophrenia and drug abuse breaking the barriers of space and time. Or it’s a black comedy foreshadowing the impact of the 1988 presidential election, which is really the best way to explain it. But first and foremost, I wanted the film to be a piece of social satire that needs to be experienced and digested several times.” DONNIE DARKO – THE DIRECTOR’S CUT features 20 minutes of never-before-seen footage; new & enhanced visual effects and new music. -- © Newmarket Films [More]
Starring: Jake Gyllenhaal, Maggie Gyllenhaal, Jena Malone, Drew Barrymore
Starring: Jake Gyllenhaal, Maggie Gyllenhaal, Jena Malone, Drew Barrymore, Mary McDonnell, Holmes Osborne, Katharine Ross, Patrick Swayze, Noah Wyle, James Duval
Director: Richard Kelly
Director: Richard Kelly
Screenwriter: Richard Kelly
Producer: Nancy Juvonen, Adam Fields, Sean McKittrick
Composer: Michael Andrews
Studio: Newmarket Films
Reviews for Donnie Darko: The Director's Cut
...other additions -- most egregiously at the climax -- are just intrusive and reduce our interpretive choices by replacing them with one choice, purely science-fictional in a George Lucas 'midichlorians' sense, that's a diminishment, not an illumination.
Kelly has restored scenes, added effects and clarified the story -- almost always to the detriment of the mesmerizing surrealist mystery that made the film such a masterpiece.
The original was a movie for all those castaways who believe in unexplained phenomenon; the new version reads like a handbook on how to pick up women.
If Kelly felt it necessary to add the new material, that's all to the good. It just means there's more to love.
It's ultimately Kelly's inventive storytelling and the myriad of complex themes he explores that capture one's imagination and, in this reviewer's case, re-ignite one's passion for the medium.
The resulting film reveals an artist who has seriously reflected on his work and carefully considered what to add, what to alter and sometimes what to remove.
The film feels like a collision between a John Hughes teen comedy and a David Lynch freakfest.
The die-hards will dig it, and those who skipped its initial run should greater enjoy their first trip through the cellar door of Donnie's universe.
A deliriously subtle exploration of storytelling possibilities, and a deliciously wry teen-pic to boot.
Contains about 10 additional minutes and is as fabulous and enjoyable as ever.
it cannot be discounted that the substantial supplementary features went a long way towards backing up the film's legitimacy to its ever-increasing population of followers.
The 2001 cut is my preference, but the 2004 changes have their select attributes. Both editions, indeed, are modern masterworks.
Still an exceptionally challenging film...but it's not quite the equal of the one some of us found so extraordinary in 2001.
It's a dreamlike, intuitive movie that has much to say about life and death and points in between.
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