More in-depth film festival coverage than any other website!
Home Reviews  Articles  Release Dates Coming Soon  DVD  Top 20s Criticwatch  Search
Public Forums  Festival Coverage  Contests About 
Advertisement

Latest Reviews

Belfast by Rob Gonsalves

King Richard by Rob Gonsalves

Ghostbusters: Afterlife by Jay Seaver

House of Gucci by Peter Sobczynski

Eternals by Jay Seaver

Kurt Vonnegut: Unstuck in Time by Rob Gonsalves

Anita by Jay Seaver

Spine of Night, The by Jay Seaver

Violet (2021) by Rob Gonsalves

Out of the Blue by Rob Gonsalves

Rescue, The (2021) by Jay Seaver

Souvenir, The: Part II by Peter Sobczynski

Cloudy Mountain by Jay Seaver

Eternals by Peter Sobczynski

Prisoners of the Ghostland by Jay Seaver

Last Night in Soho by Peter Sobczynski

Days by Jay Seaver

French Dispatch, The by Peter Sobczynski

Halloween Kills by Rob Gonsalves

Dune (2021) by Peter Sobczynski

subscribe to this feed

Donnie Darko Returns! A Chat with Writer/Director Richard Kelly

by Scott Weinberg

Everyone loves finding those "buried treasure" movies; the ones that barely make a dent on the limited release circuit before finding a welcome home on DVD. Movies like Lucky McKee's "May" and Alex Proyas' "Dark City" are more beloved now than they ever were...quite simply because, where movies are concerned, the cream eventually does rise to the top. And obviously this theory holds true with Richard Kelly's "Donnie Darko", an absolutely brilliant little movie that grossed about half a million upon its initial theatrical release, and a film that's about to re-released as a lengthier Director's Cut. So now it's up to those same freaks who made the flick such a sensation on video to head on out to the multiplexes and enjoy the version you were originally MEANT to see.

Richard Kelly was sitting in an airport, waiting for his flight to the Seattle Film Festival. It's there that his director's cut of Donnie Darko will have its premiere. Theatrical re-releases of "Director's Cut" movies are, of course, nothing new. In recent years movies like Star Wars, Alien and The Exorcist have been given the repackaged treatment.

But Donnie Darko is a different case entirely. First off, it made no money at the box office. Nada. Secondly, it's the debut feature of a youthful filmmaker, plus it's the kind of movie that's generally referred to as a "tough sell". But you really have to hand it to Mr. Kelly and the folks over at Newmarket, because together they've acknowledged the rather passionate 'underground' following that the film has, and they've come up with a "re-release" plan that actually serves the film.

The Donnie Darko Director's Cut is not a "let's squeeze a few extra pennies" thing; it's a "the movie deserves a second shot" thing, and Newmarket is to be applauded for taking this kind of shot with such a "tough sell".

So there was Mr. Kelly, sitting at the airport. A perfect time to chat on the phone with a Darko Disciple like myself...

S: "Fair warning: The last person I interviewed was Luke Greenfield...and I didn't exactly help his movie all that much."

R: "Girl Next Door. Good movie. It's a tough one because you can market it as either a sex comedy or some kind of a sophisticated teen comedy. But, as a general rule, I think the best movies are often the hardest ones to market. Everyone wants to deal with one specific category.

S: "...and the last interview I did before that was with your pal Eli Roth."

R: "Yeah, we just had dinner last night. He's a good friend of mine. Right now we're trading pages back and forth. We're working on something exciting called The Box..."

S: "And there's another one you have on the horizon, called "Knowing"? The basic concept* had me more than a little intrigued!"

[It's an end-of-the-world/time-travel thingie.]

R: "Yeah, well, sadly that's on the back burner now. The film was completely green-lit, had a budget of 15 million, but there was a lot of trouble with the financing and the foreign distribution..."

S: "Any chance you could go back to it one day?"

R: "Well, it sort of fell apart and you know what happens once Humpty Dumpty falls off the wall..."

S: "Ugh, like it's a 'marked' project."

R: "We'll see. It really is a great concept and I hope it evolves down the road. They might not wait for me; they might go hire someone else. In the meantime I've got another project called Southland Tales, which I'm directing. Eli will direct The Box.

S: "OK, on to Donnie D. No bullshit, Rich, and I never ass-kiss. But I love the movie. I think it's a great film, and I've no idea why people have such trouble categorizing it. To me it's a comedy; a canny and cynical and knowing satire of, well, a whole lotta things."

R: "That's very valid, and I agree with you. Every movie I make will be, on some level, a black comedy. The movie I'm getting ready to do [Southland Tales] is big, epic... I tell people it's 30% comedy, 30% musical, 30% thriller and 10% science fiction. By that measure, Donnie Darko is about 40% comedy, in my mind. Maybe even 50%!"

S: "But when you make a movie that's... odd, abstract, "weird...in a good way" or... open to interpretation, do you worry about alienating a certain portion of the audience? Or does it kind of create an exclusive club; the people who are going to "get" it will love it, and those that don't...just won't?"

R: "I think part of the reason why the film is a little bit inaccessible or esoteric is because... we wanted to fit the story into two hours."

S: "That was part of the contract... a 2-hour max?"

R: "Yeah, "about" two hours, but when the film first had a little trouble finding distribution at Sundance, they first thing that happens is people panic and we start to look at cutting things."

S: "Right, because everyone knows the only way to make a movie better ... is to make it shorter."

R: "Heh. It's kind of an idiot logic that's pervaded Hollywood. I think part of the reason we were really excited to put together a Director's Cut. There are a lot of moments in the story where I think people assume Oh he's just trying to be intentionally oblique and just dicking around..."

S: "Just being weird for weird's sake."

R: "Yeah. Like I'm trying to turn something into a 'David Lynch Moment'. I mean, I love David Lynch and I worship him as a filmmaker... But, in the Director's Cut, there's a logic, a through-line. I think that what you'll see in the Director's Cut is more of a science fiction film. An epic science fiction film made on an independent budget, and it's also a black comedy and it's also a love story and social satire..."

S: "Yeah. That's where the movie hits home for me the most, as a sly comedy. Just the music that accompanies the Patrick Swayze character... first time I noticed the music, it just made me chuckle."

R: "You'll get to see a little bit more of him in the Director's Cut, especially in the auditorium scene, which got really truncated for the original version. I was never happy with the way that scene played out in the theatrical cut, because it was always meant to be a longer scene that played out over the entire assembly. That scene in the Director's Cut is signifcantly better, I think. That's one of the things I was most happy to restore. I remember filming that scene in a real school with two cameras going, and that scene plays out in real time, with all the kids going up to the microphone. I remember Patrick being real nervous..."

S: "Really? In that scene?"

R: "Yeah, there's something about standing in a room full of kids...with a microphone. It's a lot more intimidating than sitting in an auditorium full of adults. Adults will be polite; kids can be rude ... and mean. But, I think the fact that he was a little nervous actually helped his performance. They forced him to create this artifice..."

S: "True, that makes sense. He must have used that nervous energy wisely, because he's all but beaming when he comes bounding onto the stage. I think it's easily some of the best work of his career."

[It's at this point that Richard goes on hold for a few seconds so he can find out where his plane will be. Apparently someone has switched terminals on the guy.]

R: "Hi. I'm back."

S: "OK, so ... release pattern? It's going to be a platform/limited release kind of thing?"

R: "Yeah. We premiere tomorrow night at the festival, and then opening in Seattle next Wednesay for a 5-day weekend in six or eight markets. They're kinda using Seattle as the guinea pig for a potential platform release. It should open in New York and L.A., I think 'wide'."

S: "At least you're in a good movie town for the test release."

R: "True. They're hoping the teenage kids from the suburbs show up in Seattle, and that will kinda help determine if the film can cross over from being an 'arthouse' to a 'mall movie'. I never thought that it was a real 'arthouse' film. It does have that kind of sensibility, but I always hoped Man, I'd love to compete with some of the blockbusters, too."

S: "I think it probably could have in some ways. It's got the surface stuff of teenage drama and romance and some scary elements ... but ultimately becomes 'arthouse' because it has multiple layers and it asks you to think while paying attention."

R:"Part of what I'm also excited about regarding the Director's Cut is ... well, in the theatrical cut, I was never really able to fully investigate the time travel aspects. I had written all this content regarding the time travel, but wasn't fully able to implement it all in the original cut. How it really applies. It has these very specific applications in the narrative, in a way that I think really delves into what I hope are some really interesting metaphysical ideas about free will and the manipulation of ... Are you in control of your body or is a higher power controlling you? What is the nature of what I like to call this 'Tangent Universe'? And what would happen if the space-time continuum was disrupted? What would be the response to that disruption?

I tried to implement the time travel motif in a challenging, clear way, with a few nods to Stephen Hawking and Carl Sagan and my favorite scientists, philosophers, writers of science-fiction ... Hopefully this film can be sort of examined on a more scientific level ... a more philosophical level? What excites me about that is the viewers may end up talking more about the science of it, the actual "data", and maybe a little less of "Well was it all a dream or wasn't it?" I figured if I was going to be allowed to do this Director's Cut, I wanted to give people a bit more ... logical of a journey. I mean, I still think there's a big level of mystery to the movie. I just tried to incorporate what fascinates me into a film that will challenge people, but that it's also fun and sort of a roller-coaster ride of a journey. I mean, I think it's pretty exciting if you can somehow get a kid turned on to a Stephen Hawking ... as opposed to just another teen idol."

S: "So it seems safe to assume that the Director's Cut is a somewhat more 'cerebral' movie."

R: "Somewhat. You'll definitely notice that several of the DVD's deleted scenes have been put back in. Some other stuff I purposely left off the DVD ... sort of some metaphysical underpinnings of the 'Tangent Universe'. Why was it 28 days, specifically? Why did the engine fall into his house? He finds meaning in all these events. But that's not to say that this new cut is "providing all the answers". It's just providing more of a blueprint."

S: "Going back to the formative stages of the movie, how integral was Drew Barrymore's involvement when it came to getting Donnie off the ground?"

R: "Absolutely essential. When you're trying to put together financing for an independent film, oddly, they couldn't really give a shit who the director is. When you're at the "Under Five Million" level, the writer and director come second to "Whose face can we put on the video box in Singapore?" And when Drew Barrymore signed up, it enabled us to get the $4.5 million, which was sort of the bare mimimum we needed to make the film properly."

S: "So the simple story is: a powerful actress/producer got behind the project, essentially vouched for it, because she just dug the screenplay a whole lot..."

R: "Oh yeah. And her commitment as a performer in the film was called an 'essential element' to the financing. Meaning, if all of a sudden she couldn't be in the film and had to back out ... they pull the plug on the whole project."

S: "Really...?"

R: "Yep. She was an essential, unreplacable element. Nearly all independent movies like this one have those situations where the financing can go bye-bye."

S: "But it's a great little story. People may just see her as someone who just produces her own Charlie's Angels movies, but a lot of these actors clearly do have a lot of respect for the movies, and are always on the lookout for a great little project that they can get behind. I bet that, among her many credits, she takes particular pride in her involvement with Donnie Darko."

R: "I really do think she deserves to be commended. I mean, she was the first one to RSVP to the parties, which means other people will instantly show up. She was the first actor to sign on. Plus a good deal of credit is due to Jason Schwarzman, because he was one of the first supporters as well. I think it's a testament to an actor when they take a chance on a first-time director. I'm sorry but lots of first-time directors can be real bozos..."

S: "Or maybe they're talented guys who just didn't make a big hit, and they're never heard from again."

R: "Yes, also true. And so I was this 25-year-old nobody, sitting in a trailer with Drew Barrymore. I was afraid she'd start rolling her eyes, thinking "Ugh, another one of these guys."

S: "Ha! I see six of you guys a day! Next!"

R: "Yeah. Exactly."

S: "Let's jump ahead to your first session with the editing bays. Was there ever a moment when you were left to the editing and thought 'Look, I know I'm a first-timer and this isn't exactly an Easy Sell Movie, but if you force me to cut this and this, you're just sucking the heart out of the movie.'?"

R: "Oh, you better believe it. There were moments when I had to get in there and scream and yell and fight like a sonofabtich ... they would have cut an extra 20 minutes had I not fought. If you don't fight and you act like a doormat, they will come in and take a pruning shears to your film."

S: "And did you find yourself thinking 'Look, I know I'm the new guy and all, but they hired me for a reason. If I speak up and show the passion for my movie, maybe they'll respect me more in the long run.'?"

R: "Sort of, but it's a double-edged sword. You don't want to be that arrogant, hot-headed 25-year-old filmmaker, screaming and fighting..."

S: "True, but even as a first-timer, you are the filmmaker. You have the gig for a reason; you're not some schmo off the street."

R: "Yeah, but there's a risk you take, because if the film doesn't work, you might have real trouble finding work in the future."

S: "Right, like 'We told you so and there's the door.'"

R: "Yeah, but if you really do believe in your material, I think you gotta fight. You just fuckin' gotta. If they see you as that doormat, they will bulldoze right over you."

S: "It always seems to go back to the same old necessary conflict: they need a product to sell, and their product is actually a piece of art. So when you gotta shape someone's art in order to make it saleable ... Obviously it's a really tough balance."

R: "Absolutely. Look, I've always known that I was going to be some kind of filmmaker. There's basically nothing else out there that I can do. And when I was growing up in Virginia, other kids would kinda make fun of me because I was artistic ... it's tough to be a 'smart' kid with creative ideas or interests..."

S: "Like being that one 14-year-old who wanted to talk about the subext of A Clockwork Orange..."

R: "Yes, exactly. There's some sort of 'weirdness' that comes with being smart or creative, and I think that's a product of what's wrong with our education system. High school, particularly, can be a terribly sad time for kids."

S: "Oh, that's a good unrehearsed segue into something else I always notice about the movie. There seems to be a real undercurrent of icy cruelty between many of the teenagers..."

R: "Oh, absolutely. After every take I'd run over to Jolene, the actress who played Cherita Chen, to make sure she was OK. I'd give her a big hug! But as far as the kids being so nasty to each other, I wanted the audience to be cringing when she was onscreen. But really, that stuff she deals with is just the tip of the iceberg, the stuff that kids go through in high school."

S: "You and I graduated around the same time, in the early 90s. The 'socio-political environment of the American High School' has changed somewhat drastically since then."

R: "Sadly, yeah. I mean, the Columbine massacre is obviously a horrific tragedy, but part of you wonders..."

S: "How it didn't happen even earlier."

R: "Yep. Look, there was an incident in 1989 where a kid killed some kids at school, but it was on the news for maybe one day. It was essentially brushed away as a freak thing. And clearly something like that is very much a precursor to Columbine. But I think our system has become one that alienates anyone who is creative or different, one that implies 'Hey, if you're not the prom queen you're a failure.' But I don't wanna go off on my conformity rant..."

S: "Do you think the first reaction of 'Oh, let's protect our teenagers!' slowly becomes an unhealthy sort of over-protection?"

R: "Yes. I think kids need a thirty-minute period a day to socialize, maybe listen to music. Interact with each other. Give a kid a guitar or a baseball or a paint brush."

S: "High school needs to get away from the Another Brick in the Wall mentality."

R: "Yeah. What happened in Columbine stems from blatant irresponsibilty. Those parents allowed free and easy access to weapons, and ignored some kids who clearly needed some guidance."

S: "But why are people so content to just keep their heads in the sand, and just weather the occasional tragedy when it arrives?"

R: "I think people are often lazy. They don't want change. They don't like to admit when they're wrong."

S: "We ended up going off on a rant anyway! Back to the movie. Do you prefer to call it a Director's Cut, an Extended Cut, what?"

R: "It's called the Director's Cut, and I would say that it is my preferred cut. I was given the autonomy to cut it to my liking, every new visual effect, every newly-added piece of sound ... I wanted it to be different from the theatrical cut for obvious reasons, but basically there's a more complete version of the story that's always been in my head. But I don't think this new cut necessarily replaces the old one. For every great Director's Cut, there's someone who still prefers the original version. Blade Runner is a good example..."

S: "Or Cameron Crowe's second cut of Almost Famous! And what's great about these movies is that they really do expand on already terrific films; these aren't money-grub re-cuts produced for an easy payday. But what made Newmarket buy into the idea of a Donnie Darko Director's Cut as a theatrical release?"

R: "It seems that people really want a chance to see it on the big screen. There have been a lot of midnight screenings, plus I do think it's kind of a 'widescreen' movie with great effects; the cinematography is amazing on a big screen. And then there's the fans ... this movie was all but resurrected from the dead, as if someone took a defibrilator to it..."

S: "And you'll notice this sort of things only happens with movies like: Dark City, The Shawshank Redemption, The Iron Giant, and Donnie Darko certainly. Movies that didn't do all that much at the box office, but when you mention them out loud at a video store, heads turn. "Oh, I love that movie!" It's just an example of the cream rising to the top."

R: "Yeah, and that's a great feeling..."

S: "But doesn't that run counter to the whole 'We want a smash first weekend and damn everything else!' mentality that's rampant in Hollywood?"

R: "Well, the marketing departments and the studios can only fool the moviegoing public for maybe one weekend, and then the secret is out. These huge media empires can sort of shove their big blockbuster into every magazine and TV show, and dupe you into showing up on opening day. And these movies WILL open big, but often they're forgotten about very quickly."

S: "And that's kind of where the critics can come in, either to help squash the undeserved buzz, or maybe put a great little movie up on a pedestal. I mean, I almost never do interviews. I don't enjoy them. But when I was asked if I wanted to chat with the guy behind Donnie Darko, my reaction was quite different."

R: "Well, thanks."

S: "Did you have to re-submit the movie to the MPAA?"

R: "Yeah, but there's nothing ... there's no new full-frontal nudity. Just adult themes, language, teenage drug and alcohol abuse... But I wonder if I should be proud of that...?"

S: "It goes back to the old question of whether movies reflect society or if society reflects what's in the movies. And I think people who blame art for society's ills are basically jamming their head in the sand."

R: "Basically. The MPAA is weird though. I'm fine with the R rating, but it's like ... you can have three F-bombs and you're fine, but if one of them refers to sexual penetration ... that's an R. Automatic."

S: "'Hey that's fuckin' awesome!' is a PG-13, yet 'I wanna fuck her!' is an R. That's absurd."

R: "Yep. Thank God for the MPAA!"

S: "Heh. As far as the music goes, what's happening with Michael Andrews' score for the Director's Cut? Was there new material recorded, or was there some old stuff that you didn't use the first time around?"

R: "Hm, yeah, there's some stuff that we hadn't used, and the previous score has been re-edited quite a bit. Plus, probably the one thing I'm proudest of on the Director's Cut is the sound design. My friend David Esparza is a sound designer and sound effects editor. Together we were able to turn this into a real THX experience. I think the sound design is well beyond what you'll hear in the original cut."

S: "How much longer is the Director's Cut?"

R: "About 20, 21 minutes."

S: "And was there anything removed from the original cut?"

R: "Hmm. See, part of what happens when you're 'reconstituting' the negative, when you go back and rebuild a film, for negative-cutting purposes, you have to go to an alternative take of a performance, maybe adjust certain things within a scene. But those are really rare. Basically I've tried to flesh out many of the character arcs. Drew's character, for example, gets a lot more attention."

S: "Ah, that's cool. She's a great character who sorta vanishes..."

R: "Plus there's more of Holmes Osborne, who plays Donnie's father..."

S: "Probably my favorite performance in the whole ensemble..."

R: "Yeah, he's just great. He was in a theater company with Tom Hanks, back in the day. Tom gave him his big break and put him in That Thing You Do! ... He's a real talented actor, so it was great to have more of him in the Director's Cut..."

S: "His and Mary McDonnell's performances are really strong, but I also appreciated the way you wrote the parents: they're liberal-minded yet oddly Republican, they're permissive and very loving, but you sorta get the feeling that they're partially to blame for their son's maladies..."

R: "In some ways, possibly. And another thing you'll see in the new cut is that ... well, one of the common misconceptions about this film is that it's 'about' mental illness. But perhaps these characters actually ARE witnessing things that we do not have access to."

S: "Right, but it's just easier to label Donnie as half-crazy and pump him full of drugs than to actually consider what he's saying. Noah Wyle, as Donnie's science teacher, almost does but then he backs off..."

R: "Right, like they can't really have an in-depth discussion. The teacher ends up worried about losing his job. I mean, it is a private school and maybe there's a ... I find that there's a sort of born-again-Christian undercurrent in even what Patrick Swayze's character is preaching. There's this sort of religious fear pervading the halls of education."

S: "Sort of a smug puritanism."

R. "Yeah, yeah. And maybe part of the reason that Noah Wyle's character gets so nervous is that he's sort of ... debunking the archetypes of religion. That they're on the road to disproving something ... uncomfortable."

S: "They're on to a scary topic."

R: "Yeah, it's sort of a nebulous theme."

S: "And also at that moment, the science teacher seems suddenly ... creeped out by Donnie."

R: "Yeah, I think maybe that's the best analysis. A common response to that scene is 'What? Are you trying to say that you're not allowed to talk about religion? Or you're not allowed to talk against religion?' But I think it's still undefined in the scene. Look, I am the biggest proponent for the separation of church and state."

S: "You and me both. So what are the plans for the Director's Cut on DVD?"

R: "I think it all depends. They only want to spend the extra cash on the packaging and the second disc if the movie is relatively well-received. On the first DVD, I snuck in there and did some interviews and helped out."

S: "Yeah, movie aside, it's also a damn solid DVD. Loaded with goodies."

R: "Yeah, but I wasn't able to get a say in the packaging. The DVD cover was just..."

S: "They went with that tired old multi-head I Know What You Did Last Summer approach."

R: "Haha, yeah. Plus they removed Mary McDonnell and Katharine Ross off the credit block, and that really set me off. I sent off a few angry letters."

S: "Yeah, marketing a movie is one thing, but show a little respect."

R: "Right, great actors who've been nominated for Oscars..."

S: "...relegated to the back of the box..."

R: "...because the 'teen market' isn't interested in them, according to some dipshit marketing guy."

S: "Sad. But it's an ensemble full of a lot of great actors, which is something people often overlook."

R: "If you get a look at the new poster, I was able to get more of the actors on the above-the-title block. People like Beth Grant and Maggie Gyllenhaal..."

S: "Oooh, I knew you'd mention her eventually. I have a longstanding mini-crush on Maggie G., plus she's a damn good actress to boot. Seems like this question will have a simple answer, but how'd you get Donnie's real-life sister to play his onscreen sister?"

R: "Ah, well when I cast Jake, I kept hearing from people that he's got a sister who's a great actress as well. I figured why hire someone to pretend to be his sister when I can get his real sister. It was a no-brainer. She just didn't want to get the part because of her brother. But I thought just the opposite: your brother needs you, this film needs you..."

S: "Plus even if people DID think that, the truth becomes pretty evident with hindsight. She's an excellent actor in her own right. All you'd have to do is look over her recent work. Then tell me she gets work because of her little brother..."

R: "Right, and I had to really sell her on it. I sincerely would have cast her anyway, sister or not. I loved that she was really hesitant at first."

S: "Now, in the movie, the end of the world coincides with the election of George Bush. What are the odds, eh?"

R: "Haha. Well, I did not want to invest the film with ... It's not an overtly political film. I mean, you look back to 1988 and you see a fairly uneventful year. The Bush/Dukakis election was not exactly high drama. If you take a look at the current administration, if George W. is not re-elected, it's interesting to note how comparable that cycle in time is, between him and his father. If you know that his father was also President, it says something about the cyclical nature of American politics..."

S: "Very true. And while the movie barely touches upon the issue of real-life politics, it seems pretty clear that Mr. Kelly is not exactly a huge fan of the Bush boys. "

R: "Heh. I was really careful about the politics I wanted ... I mean, the parents are clearly voting Republicans, but I love those two parents. I wanted to make sure that just because I may be a liberal, I wasn't going to demonize anyone just because of their political beliefs. I wanted the audience to fall in love with these two parents, although I, as the filmmaker, might not agree with their politics."

S: "Because it would probably be too easy to paint them as broad, selfish, ex-hippie types. They've grown up, they've learned how to play the game, but they're not heartless and they're not sellouts."

R: "I think the Dad is a closet anarchist at heart. He's just so tired of paying taxes. Like that old line: 'If you're young and you're not a Democrat, you have no soul. If you're old and you're not a Republican, you have no brain." Heh."

Donnie Darko: The Director's Cut recently premiered at the 2004 Seattle Film Festival. It's currently playing only in Seattle, but those in New York and Los Angeles can see it on July 27th. As for the rest of us, we'll have to wait and see. Check out either Newmarket Films or the official Donnie Darko website for more info. Show your commitment to Sparkle Motion by checking out the Director's Cut trailer here (Windows Media Player) or here (RealPlayer)!


link directly to this feature at https://www.efilmcritic.com/feature.php?feature=1132
originally posted: 06/05/04 18:02:41
last updated: 09/23/05 14:51:03
[printer] printer-friendly format


Discuss this feature in our forum

Home Reviews  Articles  Release Dates Coming Soon  DVD  Top 20s Criticwatch  Search
Public Forums  Festival Coverage  Contests About 
eFilmCritic.com: Australia's Largest Movie Review Database.
Privacy Policy | HBS Inc. | |   

All data and site design copyright 1997-2017, HBS Entertainment, Inc.
Search for
reviews features movie title writer/director/cast