I’m one of those guys that enjoys basically every movie he watches. That’s partly because I’m fairly selective of what I watch, partly because I try to go out of my way to find something interesting about each movie. Donnie Darko is probably the only widely acclaimed movie I’ve seen that I just straight up hated. It relies on the audience going out to read the external material that they published for the time travel part to be explained, since it was left out of the movie (except if you pause when they show a few pages of the book for a few frames). The entire payoff of the movie comes at a scene at the end where, in the extremely downcast sky, a plane comes down because the protagonist learns he is in complete control of this tangent universe and has the power to telekinetically bring down that plane, and he must close the circle that led to the creation of the tangent universe (which kills him in the real universe). The issue is, you can’t see the dang plane going down because of how downcast the sky in that scene while the attention is guided towards the car in that shot. You had no reason to believe that he was gonna do that. There was no setup for that payoff in the movie.
Anyway, I haven’t seen City of God yet, so you’re in luck I can’t put your entire fake bloodline on blast.
American Psycho executed that much better! It had something very specific to say, it was coherent and had a purpose behind the fantasy. I wish Donnie Darko made as much sense as American Psycho.
Yeah, would have been better if there wasn’t any attempt to try to “make it make sense” with all the extra-movie stuff.
Like, it could have been a flipping of the “when you die you see your past life flash before your eyes” trope into a “when you die you might live out a whole future life in the flash that is your last moments.” But nooooo… couldn’t do anything that cool now could they.
I’m one of those guys that enjoys basically every movie he watches. That’s partly because I’m fairly selective of what I watch, partly because I try to go out of my way to find something interesting about each movie. Donnie Darko is probably the only widely acclaimed movie I’ve seen that I just straight up hated. It relies on the audience going out to read the external material that they published for the time travel part to be explained, since it was left out of the movie (except if you pause when they show a few pages of the book for a few frames). The entire payoff of the movie comes at a scene at the end where, in the extremely downcast sky, a plane comes down because the protagonist learns he is in complete control of this tangent universe and has the power to telekinetically bring down that plane, and he must close the circle that led to the creation of the tangent universe (which kills him in the real universe). The issue is, you can’t see the dang plane going down because of how downcast the sky in that scene while the attention is guided towards the car in that shot. You had no reason to believe that he was gonna do that. There was no setup for that payoff in the movie.
Anyway, I haven’t seen City of God yet, so you’re in luck I can’t put your entire fake bloodline on blast.
Another movie that I watched where I got to the end and was like, “Oh, this entire movie was a fantasy of the main character. None of it was real.”
Same thing when I got to the end of American Psycho.
American Psycho executed that much better! It had something very specific to say, it was coherent and had a purpose behind the fantasy. I wish Donnie Darko made as much sense as American Psycho.
Yeah, would have been better if there wasn’t any attempt to try to “make it make sense” with all the extra-movie stuff.
Like, it could have been a flipping of the “when you die you see your past life flash before your eyes” trope into a “when you die you might live out a whole future life in the flash that is your last moments.” But nooooo… couldn’t do anything that cool now could they.
I threw my mom down a flight of stairs because of your comment
Thank you, we all now know a small measure of justice in this cruel life.