Amazon.co.uk Review
Jody is the kind of guy that every 1970s teen looked up to. He’s in his early 20s, has a cool car, splendid 1970s hair, a leather jacket, plays guitar and (naturally) snags all the girls. His little brother, Mike, in particular, admires him and emulates him at every turn. Things start to go astray, however, when the two brothers and their friend Reggie attend a funeral for a friend. Mike notices a tall man working at the funeral home; in the course of his snooping, he sees the tall man put a loaded coffin into the back of a hearse as easily as if it was a shoebox. Jody doesn’t believe his little brother’s stories, though, until he brings home the tall man’s severed finger, still wriggling in what appears to be French’s mustard. From there, the film picks up a terrific momentum that doesn’t let up until the sequel-ripe twist ending.

Phantasm was one of the first horror movies to break the unspoken rule that victims were supposed to scream, fall down and cower until they were killed. Instead, Mike and Jody are resourceful and smart, aggressively pursuing the evil inside the funeral home with a shotgun and Colt pistol. Furthermore, the script has a great deal of character development, especially in the relationship between the two brothers. The film even has a surprisingly glossy look, despite its low-budget origins, and little outright gore (except for the infamous steel spheres that drill into victims’ heads). This drive-in favourite was a big success at the time of its release, and spawned three sequels. Little wonder; it includes an inventive story, likeable characters, a runaway pace and, of course, evil dwarves cloaked in Army blankets. The end result is one of the better horror films of the late 1970s. Hot-rod fans take note: Jody drives a Plymouth Hemi ‘Cuda, the pinnacle of 1960s muscle cars, rounding out his status as a Cool Guy. –Jerry Renshaw

Phantasm

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Amazon.co.uk Review
Donnie Darko is a thought-provoking, touching and distinctive offering from relative newcomer, Richard Kelly (II). It’s 1988 in small-town America and Donnie, a disturbed teenager on medication and undergoing psychoanalysis for his blackouts and personality disorders, is being visited by a being in a rabbit suit whom he calls Frank. It’s this anti-Harvey that saves Donnie from being crushed to death when an airplane engine falls from the sky onto his house. This is the beginning of their escalating relationship, which, as Donnie follows Frank’s instructions, becomes increasingly violent and destructive. Added to this is Frank’s warning of the impending apocalypse and Donnie’s realisation that he can manipulate time, leading to a startling denouement where nearly everything becomes clear.

“Nearly everything”, because Donnie Darko is a darkly comic, surreal journey in which themes of space, time and morality are interwoven with a classic coming-of-age story of a teenage boy’s struggle to understand the world around him. The film leaves the viewer with more questions than it answers, but then that’s part of its charm. Performances are superb: Jake Gyllenhaal underplays the mixed-up kid role superbly and Donnie’s episodes of angst positively erupt out of the screen. There are also some starry cameos from Mary McDonnell as Donnie’s long-suffering mother, Patrick Swayze as Jim Cunningham, the personal-development guru with a terrible secret, and Noah Wyle and Drew Barrymore as Donnie’s progressive teachers. Undoubtedly too abstruse for some tastes, Donnie Darko‘s balance of outstanding performances with intelligent dialogue and a highly inventive story will reward those looking for something more highbrow than the average teenage romp. –Kristen Bowditch

Donnie Darko

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