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 

Overall Rating

Awesome: 27.27%
Worth A Look: 18.18%
Average: 0%
Pretty Bad54.55%
Total Crap: 0%

1 review, 5 user ratings

Latest Reviews

Jumanji: The Next Level by Jay Seaver

Black Christmas (2019) by Peter Sobczynski

Richard Jewell by Peter Sobczynski

Dachra by Jay Seaver

Little Joe (2019) by Jay Seaver

Knives and Skin by Jay Seaver

Rabid (2019) by Rob Gonsalves

Irishman, The by Rob Gonsalves

Recorder: The Marion Stokes Project by Rob Gonsalves

Kitchen, The (2019) by Rob Gonsalves

subscribe to this feed

Don McKay
[] Buy posters from this movie
by brianorndorf

"A mystery with a certain nothing"
2 stars

Secrets have secrets and twists have twists in the murder mystery “Don McKay.” Normally, that’s a tantalizing invitation to a rowdy ride of surprises, but this picture isn’t interested in working itself into a tight spin of suspense. Labored and distractingly uneven, “Don McKay” comes across as a lackadaisical film school writing assignment that somehow lucked into a feature film deal.

A high school janitor, Don McKay (Thomas Haden Church) lives a routine, solitary life. When a letter arrives from ex-girlfriend Sonny (Elisabeth Shue) beckoning Don back to his old hometown, the placid man complies, returning to an area and woman he hasn’t seen in 25 years. Now terminally ill, Sonny wants to rekindle her relationship with Don, much to the disdain of her doctor Lance (James Rebhorn) and roommate Marie (Melissa Leo). Don, overwhelmed with the offer but interested, begins to embrace old feelings for his lost love, only to be attacked by Lance, which results in a dead body, a scheme of blackmail, and whole mess of trouble that plagues his tentative return to a previous life.

Rooted in noirish, early Coen Brothers ambiance, “Don McKay” possesses the basic ingredients for a ripping tale of deception, boasting a cast of eccentric characters and an insistence on baffling motivations. The potential is there, but writer/director Jake Goldberger appears stumped by his own puzzle pieces, leaping into an unexpectedly complex story of murder without a cleanly prepared game plan.

Much of “Don McKay” feels randomly assembled, and that disconnected sensation seeps into the performances, which are a key component to making the script work. Shue overplays the wounded butterfly role to a point of immediate suspicion, traipsing around in Tennessee Williams mode to communicate a disturbed need of our hero that isn’t immediately clear. As Don, Church has a good thing going for the first two acts, bearing silent witness to the burgeoning lunacy of his old community, struggling to decode his purpose there. When matters do finally explode, it’s a disappointment to find the actor dive back into sardonic Thomas Haden Church mode, commenting on the newborn absurdity wryly, almost breaking character to keep up with a modest comedic element Goldberger unwisely introduces in the last few innings. While the role initially seems like a needed change of pace for Church, his work as Don doesn’t end up anywhere new.

Character actor Keith David also appears as Don’s cautious old friend, though the role seems whittled down considerably from whatever original function it held in the script. A shame too, since the performance is the most alert in the ensemble.

When bodies go missing, Sonny starts appearing more paranoid than infirmed, and Marie grows increasingly exasperated with the whole household, “Don McKay” doesn’t deliver on the mounting questions with any sort of sensible payoff. Instead, Goldberger busses in a twist convention, using shock as a way of distracting the viewer away from logic. Not that “Don McKay” is confusing, but it doesn’t exactly invite the strictest concentration when it starts assigning bizarre motivations to form some grand design of fraud. Goldberger is attempting sleight of hand while wearing mittens, and the film eventually peters out instead of concluding with a clenched fist.

“Don McKay” is sloppy and unconvincing, growing increasingly desperate to wow with the little it has to offer. Here we have a timid man, a lusty woman, a murder, a disappearing body, and a few elated opportunists. How “Don McKay” manages to take those enticing elements and end up nowhere of note is the real mystery at hand.

link directly to this review at
originally posted: 04/17/10 06:35:52
[printer] printer-friendly format  
OFFICIAL SELECTION: 2009 Tribeca Film Festival For more in the 2009 Tribeca Film Festival series, click here.

User Comments

7/19/10 GEORGE B. FEIST I loved it, at first NO, but I really dug it by its end. 4 stars
6/22/10 porfle Much, much better than I expected. 4 stars
3/21/10 Tallulah Fredericks Amazing flick. Incredible many twists and turns. Need to see it again! 5 stars
8/17/09 Eddie A funny AND suspenseful thriller- Performances were all accorass the board amazing. 5 stars
4/26/09 Hilly Ward Really cool cross between David Lynch and Hitchcock 5 stars
Note: Duplicate, 'planted,' or other obviously improper comments
will be deleted at our discretion. So don't bother posting 'em. Thanks!
Your Name:
Your Comments:
Your Location: (state/province/country)
Your Rating:

Discuss this movie in our forum

  02-Apr-2010 (R)
  DVD: 29-Jun-2010



Home Reviews  Articles  Release Dates Coming Soon  DVD  Top 20s Criticwatch  Search
Public Forums  Festival Coverage  Contests About 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