Maggie Gyllenhaal

Childhood memories and explaining ‘Donnie Darko’

The gateway movie to my full-blown film addiction was Richard Kelly’s Donnie Darko (2001). Kelly has yet to create a film that matches the mood or magnitude of his first success. This supernatural thriller has sparked a cult following behind its intense narrative and themes. Countless arguments have played out discussing it’s a representation of madness. Made in only 28 days it utilised a low budget of 4.5 million. This made it a poster-child for indie films.

Uncomfortable truths pierce through the mask of ‘Frank’

Frank steers away from almost-Almost Famous territory and into something familiar to anyone who’s seen The Devil and Daniel Johnston; director Abrahamson carries his deft balancing of tonal shifts from his 2012 film What Richard Did over to this effort.

Fantasia 2014: Frank is this year’s most heartwarming film about a gigantic head

Frank follows a post-internet age Billy Liar and asks, “What if he did follow his dream through, but his idol was a lunatic?” Jon (Domnhall Gleeson), a young middling English songwriter, gets invited to play keyboard for the aforementioned Frank (Michael Fassbender). Frank wears a giant fake head made of papier-mâché and refuses to take it off. Soon, Jon is invited to spend a year in Ireland with the band as they record their painstakingly overblown album, all the while secretly filming it and posting clips to YouTube.

The audacity of dope: ‘White House Down’ a goofy, fun ‘Die Hard’ rip-off

Subtlety is a skill Roland Emmerich has not mastered. Subtlety is not, nor ever will be, in his repertoire; it is likely as alien a concept to him as opposable thumbs are to all non-human creatures. Most of the time, his thudding portentousness doesn’t serve him well as a director, with previous misfires like The Day After Tomorrow, Godzilla, and 2012 lining his filmography, movies that are big and loud enough to make money despite being massively, unpleasantly stupid.

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