TWILIT TALES:

coming to grips with the mad world

of beastly CGI enhanced blockbuster film art

in the twilit and allegorical film art

of Richard Kelly

by Gary W. Wright

        Like many children of the Eighties, James Richard Kelly was implicitly quite upset by the helicopter crash that killed actor/writer/director Vic Morrow and illegally hired and employed child extras Renee Chen and My-ca Le around 2:20 am in the early morning of July 23, 1982 on the George Folsey jr. produced John Landis set of the twilit, allegorical, Kathleen Kennedy associate produced, Frank Marshall produced, Landis and Steven Spielberg executive produced Landis, Spielberg, Joe Dante and George Miller docufeature film TWILIGHT ZONE: THE MOVIE [1983].  For the TZ disaster, the dread allegorical Zone Wars that broke out afterwards and their emphasis on computer generated imagery [CGI] enhancement were the central implicit themes of his three surprisingly mature, brilliant, confident, fearless, original, creative, allegorical and slightly CGI enhanced indie docufeature films, starting when he donned the writer/director hats and created his first twilit, allegorical, slightly CGI enhanced and Ozian themed indie docufeature film DONNIE DARKO [2001], released on January 19, 2001.

“And what if you could go back in time

and take those hours of pain and darkness

and replace them with something better?”

        Curiously, the film’s fourth opening title identified the film as “…A richard kelly FILM”, an odd but implicit affirmation of the pride Kelly had in the film that also set the stage for the oddness of the film.  Then DONNIE DARKO began with a teenaged boy-played by Jake Gyllenhaal-waking up by the dawn’s early light on October 1, 1988 to find to his confused and amused surprise that he was sleeping on a road in his pajamas in a setting of stunningly beautiful and visionary hills, a surreal beginning heightened by the equally dreamy, haunting and surreal sounds of the original twilit, allegorical, and Michael Andrews composed instrumental tune “Carpathian Ridge” [2001] slowly and softly swelling on the soundtrack.  Then this amused, puzzled and unknown teenaged body got on his ten speed racer bicycle and rode it down from the dreamy hills and into a town revealed by a Hallowe’en Carnival promoting sign as the Hollywood cadenced suburb of Middlesex, Virginia-fittingly Hollywood cadenced, as the film was actually created in the Greater Los Angeles area [GLAA]-to the sound of the twilit, allegorical and Pete DeFreitas, Ian McCulloch, Les Pattinson and Will Sergeant written Echo & The Bunnymen tune “The Killing Moon” [1983].

        Soon the unknown teenaged boy rode up to his house and past his David Lynch resembling and implicitly linked father Eddie-played by Holmes Osborne-using a leaf blower on the fallen leaves in the front yard and mischievously turning to use the blower on his older sister Elizabeth-played by Jake’s real life sister Maggie Gyllenhaal.  Riding up the side of his house, he soon walked past his younger sister Samantha-played by Daveigh Chase-bouncing on a trampoline in the backyard and his mother Rose-played by Mary McConnell-sitting in a lawn chair when he entered the back door of the house.  Significantly, Rose was reading the twilit and allegorical Screamin’ Stephen King indie docufiction novel It [1986], openly and immediately linking the film to the twilit fiction and film art of the dread allegorical Zone Wars.  The storied presence of King also openly linked the film to the twilit and disastrous year of 1982 via the twilit and allegorical King indie docufiction novella quartet Different Seasons [August 1982], and via his screenplay for, and role as the implicitly George Lucas and Scarecrow linked farmer Jordy Verrill in, “The Lonesome Death Of Jordy Verrill”, the second and implicitly Scarecrow themed episode of the eerily and presciently twilit, allegorical and implicitly Ozian themed film roasting George A. Romero indie docufeature film CREEPSHOW [1982].

        Later at dinner that night, Rose and the rest of the Darko family not only affirmed that that the mysterious teenaged boy was the eponymous and titular Donald “Donnie” Darko, but also increased the film’s link to and implicit interest in the twilit and disastrous year of 1982.  For the two adults and three children around the kitchen table evoked the two adults and three children of the implicitly Francis Coppola family linked Freeling family in the twilit, allegorical, Kennedy and Marshall produced and Spielberg co-written/co-produced Tobe Hooper docufeature film POLTERGEIST [1982].  In addition, POLTERGEIST, like CREEPSHOW, was not only released in the fall of ’82 only months after the TZ disaster, it was inspired by the allegorical and Richard Matheson written Paul Stewart telefilm “Little Girl Lost” [1962], a season three episode of the original TWILIGHT ZONE telefilm series, making it eerily and presciently fitting that Paul Stewart was also the name of the special f/x man who set the explosives used in the TZ disaster and went on to become one of the five co-defendants along with Landis in the subsequent TZ trial.

        Thus, with all sorts of twilit allusions appearing at the beginning of DONNIE DARKO, it was not too surprising that the famous door to the Twilight Zone literally opened later that night in the early morning of October 2, 1988.  For Darko was awakened by an eerie, sepulchral and telepathic voice commanding him to wake up, get out of bed, leave his room with its rubik cube windows and sleepwalk downstairs and out of the house by the front door.  Significantly, shortly before Darko opened and walked out the twilit front door, his POV and the camera glanced up to reveal a chandelier hanging above the door.  This shot recalled a similar upward panning POV shot that revealed a similar chandelier hanging from a ceiling in an apartment at the beginning of the eerily twilit and allegorical Spielberg telefilm “Eyes” [1969], the first episode of the three part pilot telefilm of the Rod Serling telefilm series NIGHT GALLERY [1969-73], openly linking the film and Darko to Serling, Spielberg, the TWILIGHT ZONE and the TZ disaster.

        Then, in the darkness outside, Darko met the owner of the telepathic voice, a creepy and implicitly Tin Man linked bunnyman named Frank-played by James Duval-a twilit nightmare bunnyman whose name evoked Marshall, who sort of resembled a fusion of the nightmare rabbit in “It’s A Good Life”, the third Dante episode of TWILIGHT ZONE: THE MOVIE, and Ahmed Best’s Jar Jar Binks in the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Spielberg and James Cameron roasting Lucas indie animaction film STAR WARS EPISODE I: THE PHANTOM MENACE [1999], and who reminded us of the Echo & The Bunnymen tune that accompanied Darko on his bike ride home at the beginning of the film.  Significantly, Frank warned Darko that the world would end in 28 days, 6 hours, 42 minutes and 12 seconds, a prophecy that almost came true for the Darko family far earlier when a mysterious jet engine fell from the sky on the Darko house like the TZ helicopter fell from the sky soon after Donnie left to join Frank, crushing Donnie’s second floor bedroom.  Just as significantly, an unknowing Darko was woken up the next morning on the greens of the local golf course by Doctor Fisher-played by Arthur Taxier-and his friend, who turned out to be the implicitly Cameron and ironically Cowardly Lion linked and fear conquering motivational speaker James “Jim” Cunningham-played by Patrick Swayze-another unexpected wakeup that again linked young Darko to God’s green Earth, and, hence, to the Scarecrow.

        Soon after the accident, Darko nervously returned to the Middlesex Ridge School [MRS], a private Christian high school for mischievous munchkin boys and girls, reaffirming the film’s implicit interest in the TZ disaster.  For waiting for the school bus with Donnie, Samantha and their friends was a student named Cherita Chen-played by Jolene Purdy-whose surname evoked that of Renee Chen, the girl extra who was the first to die in the TZ disaster.  Meeting the malevolent and implicitly Folsey jr. and Landis linked pair of Ricky Danforth and Seth Devlin-ironically played by Seth Rogen and Alex Greenwald, respectively-in the hallways of MRS upon arrival at the school to the sound of the twilit, allegorical and Roland Orzabal and Curt Smith written Tears For Fears tune “Head Over Heels” [1985] reaffirmed the film’s implicit interest in the TZ disaster.  The arrival soon after of the implicitly Wicked Witch of the West linked gym teacher Miss Kitty Farmer-played by Beth Grant-and the implicitly Dorothy linked Gretchen Ross-played by Jena Malone-whose surname reminded us that in 1982 Steve Ross was CEO of Warner Brothers, the studio that oversaw and released TWILIGHT ZONE: THE MOVIE also affirmed the implicit twilit spirit and the Ozian theme of DONNIE DARKO. 

        Last but not least, the appearance of film executive producer Drew Barrymore as Donnie and Gretchen’s archetypical frustrated, heartbroken and implicitly Kennedy linked English teacher Ms. Karen Pomeroy-who was fond of the allegorical and implicitly British Commonwealth roasting Graham Greene indie docufiction short story “The Destructors” [1954]-openly linked the film to Spielberg and the twilit and disastrous year of 1982, for Barrymore played Gertrude “Gertie” Thomas in the eerily and presciently twilit, allegorical, CGI enhanced and implicitly Terry Gilliam addressing Spielberg docufeature film E.T., THE EXTRATERRESTRIAL [1982].  A fitting reminder of Gilliam, for shortly before the arrival of Ms. Pomeroy, we also met Cunningham again, revealed to be the author of the allegorical and fear liberating self help book Attitudinal Beliefs [200?], and the implicitly Great Oz linked MRS Principal Cole-played by David Moreland.  Fitting indeed, for the names of Principal Cole and James “Jim” Cunningham evoked that of a Gilliam character who was as confused and as troubled as Darko, the quixotic and implicitly Lucas linked future time traveller James “Jim” Cole-played by Bruce Willis-who died in the midst of his time travelling travails at the end of the twilit, allegorical, CGI enhanced and sadcap Gilliam animaction film 12 MONKEYS [1995], an allusion that set us up for the equally deadly time travelling back to the future past ending of DONNIE DARKO and now linked Darko to either Gilliam, Lucas or Spielberg.

        Most likely Lucas, for over the course of the rest of October of 1988 to the fateful date prophesied by Frank, Darko underwent sessions with a psychiatrist named Doctor Lilian Thurman-played by Katharine Ross-shortly after he used an axe that briefly and implicitly linked him to the Tin Man and Water to break open a water main in the basement of MRS and flood the school.  These tumultuous sessions with Dr. Thurman, which often discussed Donnie’s fear that he would die alone without knowing whether or not God really existed, evoked Cole’s run-ins with the implicitly Kathryn Bigelow linked psychiatrist Doctor Kathryn Railly-played by Madeleine Stowe-in 12 MONKEYS, implicitly linking Darko to Lucas.  The sight and sound of Darko reflected in a bathroom medicine cabinet mirror as he downed the placebos given him by Dr. Thurman also affirmed his implicit link to Lucas, for the shots evoked the sight and sound of THX 1138-played by Robert Duvall-reflected in the bathroom medicine cabinet mirror of his swingin’ subterranean pad in the eerily twilit, allegorical and implicitly Stanley Kubrick roasting Lucas indie docufeature film THX 1138 [1971].

        The implicit link of Darko to Lucas was reaffirmed by the sight and sound of Darko burning down the house of Cunningham while the motivational speaker was MCing an evening student talent show at MRS.  For the fiery arson linked him to the Cowardly Lion and to Fire, reminding us not only that Darko was already linked to the Earthy Scarecrow by his two outdoor wakeups and to the axe wielding, school water pipe chopping and Water linked Tin Man, but that Ozian themed film was a famous trait of the film art of Lucas.  This implication that Darko was implicitly linked to Lucas was reaffirmed by the presence of the perhaps Ida Lupino and implicitly Glinda the Good Witch of the North linked Doctor Roberta Sparrow-played by Patience Cleveland-author of the helpful, insightful and allegorical tome The Philosophy Of Time Travel [????].

        The implication that Darko was linked to Lucas was also affirmed by the fact that shortly before the end of the film he watched Gretchen die to his furious horror on the night of October 30, 1988 or early morning of October 31, 1988 when she was run over by a red Trans Am with the twilit and J.D. Jedi license of JD6 4892 that was driven by a horrified Frank and that had actually already been seen roaring by Darko as rode home on his ten speed from his wakeup in the dreaming hills at the beginning of the film.  A Frank wearing the nightmare bunnyman suit that was just a homemade Hallowe’en costume, as the visions of Frank that Darko experienced throughout the film turned out to actually be haunting memories of the twilit and nightmarish future.  However, after shooting Frank dead in fury for inadvertently killing Gretchen, Donnie, who had also been wrestling with his faith in God and his fear that he would die alone before receiving any reassuring confirmation of the existence of God throughout the film, was rewarded for his determination to find God by being carried back in time at the end of the film in a sequence that began with a divinely sent CGI tornado that openly linked him to Air and evoked the tornado in the black and white Dirty Thirties Kansas prologue of the allegorical and implicitly Prime Minister William King and Nazi Germany roasting Victor Fleming film THE WIZARD OF OZ [1939], thus implicitly reaffirming the Ozian theme of the film and implicitly linking Darko to the four healing and harmonizing Ozian elements, ironically making the troubled teen a whole and harmonious person.

        Significantly, this divine CGI tornado pulled Darko back through time after ripping off a jet engine from the passenger plane taking Rose and Samantha back to Middlesex after competing with her fellow troupe members of Sparkle Motion in a dance competition in California, evoking the plane wrecking gremlin-played by Larry Cedar-in “Nightmare At 20,000 Feet”, the fourth Miller episode of TWILIGHT ZONE: THE MOVIE.  As the engine fell out of the sky, an equally CGI and divine fourth dimensional Einstein/Hawking space-time wormhole suddenly appeared like the time travelling portals in the presciently twilit, allegorical, madcap and implicitly New Hollywood roasting Gilliam indie animaction film TIME BANDITS (1981) and took the errant engine and Darko head over heels back through time from the morning of October 31, 1988 to the night of October 2, 1988 when the mysterious engine first fell on the roof of the Darko family home on top of the bedroom of Darko, bringing the film full circle back to the beginning ending of DONNIE DARKO and implicitly linking Darko to the Great Oz-played by Frank Morgan-drifting off into the sky in his hot air balloon at the end of THE WIZARD OF OZ.  But not entirely back to the beginning ending of the film, for this time Darko was not saved by being woken up by Frank and persuaded to sleepwalk out of the Darko home.  As a result, Darko was killed when the falling jet engine smashed through the roof of the Darko home and crushed his room like the all crushing allegorical foot of Bronzino that Gilliam used to humourous effect in his cut-out animation for MONTY PYTHON.

        Curiously, despite being cruelly kissed by fateful free will, Darko’s death was not in vain, as he died so that others could live in true Christian Messianic fashion.  For his death prevented him from meeting and developing a relationship with Ross only to see her die to his furious horror on the night of October 30/31, 1988 when she was run over by Frank in his red Trans Am.  Significantly, however, Darko’s death also prevented him from killing Frank and “killing” the reputation of Cunningham-his implicit link to Cameron affirmed by the CGI “spears” that Darko saw bursting out of the bellies of friends and family while watching football one weakend afternoon on the tube, CGI “spears” that evoked the extraterrestrial CGI water probe seen in the twilit, allegorical, CGI enhanced and implicitly Spielberg and Amy Irving addressing Cameron indie docufeature Zonebuster THE ABYSS [1989]-reminding us that the attempt by Lucas to restore his twilit and tarnished reputation, exorcise the TZ disaster, free audiences, film art, film artists and the Temple Theatre from the Twilight Zone and kick off a daylit neo eon  of CGI enhanced film art by returning to his more successful Skyrockin’ past and teaming up with young Natalie Portman-who played Queen Padme Amidala and who Gretchen resembled-to implicitly roast Cameron and Spielberg in STAR WARS EPISODE I: THE PHANTOM MENACE had not only failed to accomplish its objectives but had also killed the reputation of Lucas for good, affirming the implicit link of Darko to Lucas, of Cunningham to Cameron and of Frank to Spielberg.  Indeed, the sight and sound of Darko dying after he had travelled back through time in a desperate attempt to save the future reminded us that the implicitly Lucas linked Cole was gunned down after travelling back to the past in an equally desperate attempt to prevent a world wide plague and to save the future at the end of 12 MONKEYS, reaffirming the implicit link of Darko to Lucas.

        In addition, the sight and sound of brave and resolute Sir Darko dying in the past to save the future also evoked the sight and sound of the equally brave, determined, resolute and implicitly Lynch linked future time traveller Kyle Reese-played by Michael Biehn-dying in the past to save the future at the end of the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Lucas and Lynch roasting Cameron indie docufeature Zonebuster THE TERMINATOR [1984], reaffirming the implication that the film was addressing Cameron on one level.  Indeed, the film’s allusions to THE ABYSS, THE TERMINATOR, the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Bigelow, Lucas, Lynch and Francis Coppola addressing Cameron indie docufeature Zonebuster TERMINATOR 2: JUDGMENT DAY [1991] and the twilit, allegorical and CGI enhanced Cameron indie docufeature Zonebuster TITANIC [1997], reaffirmed the implicit interest in Cameron in DONNIE DARKO.

        For his part, Spielberg implicitly roasted Kelly in the implicit form of the unusually mature, confident, smooth talking and lady killing teen con man Frank Abagnale jr.-played by Leonardo DiCaprio-in the twilit, allegorical and CGI enhanced docufeature film CATCH ME IF YOU CAN [2002], a film released on December 16, 2002 whose implicit allegorical intent was affirmed by allusions to DONNIE DARKO.  Then, fittingly, given that conquering fear, particularly the fear of dying alone before receiving confirmation of the existence of God, was a major theme of DONNIE DARKO, two years after the film’s release Kelly was implicitly linked by Marvel and Twentieth Century Fox to Matthew “Matt” Murdock aka “Daredevil”-played by Scott Terra as a lad, and by Ben Affleck as a laddish man, respectively-in the twilit, allegorical, elektrafying, and CGI enhanced Mark S. Johnson super satirical animaction film DAREDEVIL [2003], a film released on February 9, 2003 about a man with no fear who was implicitly linked to John F. Kennedy jr. when he was created by Beamin’ Bill Everett, Jolly Jack Kirby and Smilin’ Stan Lee for Marvel Comics, and a film that also anticipated the arrival of a fan with no fear that some mockingly called Gardevil in one of the most eerily prescient memories of the twilit future of the entire dread allegorical Zone Wars.

“Because I can.

Because I’m not afraid.”

        Indeed, the battle of the indie and fearless Daredevil, whose alliterative name and “DD” initials fittingly evoked the equally alliterative name and D. D. initials of Donnie Darko, and his battle to rid New York City of the beastly, blockbuster loot lusting and implicitly Lucas linked gang boss Wilson Fisk aka “Kingpin”-perhaps originally linked to DC editor Mort Weisinger, and played by Michael C. Duncan-and the gleefully psychopathic and implicitly Lynch linked Bullseye-played by Colin Farrell-was implicitly linked to the battle of the equally indie and fearless Kelly to defeat CGI enhanced blockbuster beasts with more thoughtful and slightly CGI enhanced indie film art, an implication affirmed by the film’s allusions to DONNIE DARKO.  Murdock’s implicitly Spielberg linked father Jack Murdock aka “the Devil”-played by David Keith-affirmed the implicit Kelly addressing intent of the film, reminding us of all of the allusions to E.T., THE EXTRATERRESTRIAL and POLTERGEIST in DONNIE DARKO.  Curiously, Bigelow was also implicitly linked in the film to the fittingly fearless martial arts warrioress Elektra Natchos-inspired by a character created by Frolickin’ Frank Miller for Marvel Comics, and played by Jennifer Garner-who was killed by Bullseye-or was she?

        As for Kelly, the unexpected and uncertain new terrorist combating reality set off by 911 inspired him in part to don the writer/director hats and return with Grant, Osborne and Lisa K. Wyatt-who played indomitable fear conqueror and MRS secretary Linda Connie in a Cunningham motivational video in DONNIE DARKO-and co-producer Sean McKittrick, editor Sam Bauer, costume designer April Ferry, production designer Alexander Hammond, and director of photography [DOP] Steven Poster-all from DONNIE DARKO-on the equally confident, mature, brilliant, fearless, original, creative, twilit, allegorical, slightly CGI enhanced and Ozian themed indie docufeature film SOUTHLAND TALES [2006], which was first screened at Cannes on May 21, 2006.

“Pandora’s box had been left exposed

to prying eyes.”

        Significantly, the film began not with opening titles but with a home video taken by two mischievous boys of the relaxed and convivial celebration of the July 4, 2005 holiday in a festive and patriotically bedecked neighbourhood in Abilene, Texas.  The festive scene reminded us that DONNIE DARKO began its closing beginning climax in the early morning hours of Hallowe’en 1988, and also evoked the more sad and sombre sight and sound of neighbours gathered around the Darko house after the jet engine fell on the roof of the house and killed Donnie at the back to the future past end of DONNIE DARKO.  An ominous reminder, for the relaxed and festive July 4^th spirit was soon shattered by a shocking explosion and a CGI mushroom cloud as a nuclear attack on Abilene sent the United States into World War Three, possibly allowing Kelly to explore his fear that the repercussions of 911 would drag the U.S. into another world war on one level in SOUTHLAND TALES.

        Curiously, this World War Three was covered on a multi-television and computer screen Doomsday Scenario Interface (DSI) and laconically narrated in a film long voiceover (VO) by the inexplicably omniscient and Book Of Revelations luving and quoting Falujah battle scarred Iraq War vet and implicitly Quentin Tarantino and Scarecrow linked ex-actor, ex-Marine and Santa Monica Pier security man and drug dealer whose surname equally inexplicably evoked the bombing of Abilene, Pilot Abilene-whose surname equally inexplicably evoked the bombing of Abilene as if he was the personification of the city, and who was played by Justin Timberlake-a film long VO narration that evoked the film long VO narration of the adult Murdock in DAREDEVIL and of the implicitly Lucas linked ex-Los Angeles Police Department “Blade Runner” Richard “Rick” Deckard-played by Harrison Ford-in the original theatrical release of the eerily and presciently twilit, allegorical, CGI enhanced, Ozian themed and implicitly Lucas addressing Sir Scott indie docufeature artbuster BLADE RUNNER [1982], linking another Kelly film to Lucas and to the twilit and disastrous year of 1982.  Indeed, the presence on the production of conceptual artist Ron Cobb openly linked SOUTHLAND TALES to BLADE RUNNER and the twilit and disastrous summer of ’82, for Cobb also worked as a conceptual artist on BLADE RUNNER. 

        Significantly, Abilene not only told the story of World War Three, he also introduced and, with the same inexplicable omniscience, told the tragicomic and intertwined stories of all of the madcap and embattled main characters of SOUTHLAND TALES, intertwined and battling main characters who were implicitly linked to Zone War film artists.  For the nuclear bombing of Abilene polarized the U.S. even more and led a twilit trio of years later to a battle breaking out in the hot summer of 2008 between Los Angeles based members of the Republican Party and its new USident cybersecurity monitoring department and radical members of a far left group known as the Neo-Marxists with pragmatically crass indie lone wolves who exploited or jeered at both sides lurking between the two groups, a battle that implicitly evoked the equally madcap and determined war in the world of film art set off by the equally explosive and polarizing arrival of CGI that by 2006 led those film artists who eagerly embraced CGI enhancement and digital film battling those film artists who were opposed to CGI enhancement destroying the vital humanity of film art and also preferred celluloid film to digital film, with indie lone wolf film artists jeering at and exploiting both sides, implying that Kelly was roasting this real life cinematic battle on another level in SOUTHLAND TALES. 

Curiously, the first madcap character introduced by Abilene was the indie, implicitly CGI eschewing and Lynch and Cowardly Lion linked Hollywood action film star turned soldier and aspiring film artist Boxer Santaros-played by Dwayne Johnson-who turned out to be a fourth dimensional time traveller who led the narrative to characters in the ranks of the implicitly CGI and digital film promoting and embracing ranks like his wife, the implicitly and ironically Bigelow linked Madeline Frost-Santaros-played by Mandy Moore-the implicitly Cameron linked Republican advisor Vaughan Smallhouse-played by John Larroquette-the eccentric and implicitly Lucas and Great Oz linked Nobel prize winning “renegade scientist” and wonderful Wizard, Baron Von Westphalen-played by Wallace Shawn-the implicitly Spielberg and Glinda the Good linked Doktor Katarina Kuntzler-played by Zelda Rubinstein-the implicitly Tim Burton linked Dr. Soberin Exx-played by Curtis Armstrong-the mysterious, sensual, exotic and implicitly Sofia Carmina [SCC] Coppola linked companion of the Baron, Serpentine-played by Bai Ling- the mysterious and Philip K. Dick resembling and implicitly linked Simon Theory-played by Kevin Smith-the implicitly Disney CEO Bob Iger linked Texas Senator and U.S. 2008 Presidential election candidate Robert “Bobby” Frost-played by Osborne-and Nana Mae Frost, who was implicitly linked to Willow Bay, the wife of Iger, and to the Wicked Witch of the West, and was also the head of the L.A. HQ of the implicitly Disney linked USident-played by Miranda Richardson.

        For their part, leading the implicitly CGI and digital film rejecting, Republican battling and CGI free celluloid film preferring Neo-Marxist ranks were the implicitly Gilliam and Tin Man linked and fellow fourth dimensional rift and time travelling UPU2 Officers Roland and Ronald Taverner-whose surname openly affirmed the film’s link to BLADE RUNNER and the twilit and disastrous summer of 1982, for Taverner shared the surname of Jason Taverner, a tv star in the allegorical Dick indie docufiction novel Flow My Tears, The Policeman Said [1974], reminding us that the allegorical and implicitly Disney animatronic “people” roasting Dick indie docufiction novel Do Androids Dream Of Electric Sheep? [1968] inspired the creation of BLADE RUNNER, and was played by Seann W. Scott-the implicitly Johnny Depp linked Kenny Chan-played by Mike Nielsen-the Dick luving and quoting and implicitly Alfred Hitchcock linked UPU2 Officer Barton “Bart” Bookman-played by Jon Lovitz-the implicitly Sarah Polley linked Veronica Mung aka “Dream”-played by Amy Poehler-the implicitly Joss Whedon linked Bing Zinneman-played by Todd Berger-the implicitly Susan Siedelman linked adult film director Cyndi Pinzicki-played by Nora Dunn-the implicitly Clement Virgo linked Dion Element-played by Wood Harris-and the fearless, pugnacious and perhaps Patricia Rozema linked Zora Charmichaels-played by Cheri Oteri-who openly affirmed the link of the film to BLADE RUNNER, for Zora evoked the equally pugnacious renegade Replicant Zhora-played by Joanna Cassidy-in BLADE RUNNER, a film also set in a future L.A. 

Last but not least, and in addition to Santaros, leading the ranks of pragmatically crass indie lone wolves who exploited or jeered at both sides were the implicitly Landis linked Martin Kefauver-played by Lou T. Pucci-the ice cream truck driving and implicitly David Cronenberg linked illegal weapons dealer and father of Veronica, Walter Mung-played by Christophe Lambert-the Santaros besotted and implicitly Madonna linked Starla Von Luft-played by Michelle Durrett-the implicitly Andy Wachowski linked Fortunio Balducci-played by Will Sasso-and the implicitly Larry Wachowski and Dorothy linked porn star and aspiring film star/screenwriter/pop star/media personality Krysta Kapowski-played by Sarah M. Gellar.

        Fittingly, and to affirm the implicit film artist roasting intent of SOUTHLAND TALES, the film’s many tragicomic characters, madcap narrative and its post-nuclear sneak attack agitated, soldier filled, terrorism obsessed and edgy L.A. bristling with mounted machine gunners evoked the numerous and equally tragicomic characters and madcap narrative of the post-Pearl Harbour attack agitated, soldier and sailor filled, Japanese invasion obsessed and edgy L.A. bristling with anti-aircraft gunners of the presciently twilit, allegorical, Ozian themed and implicitly New Hollywood film artist roasting Spielberg docufeature film 1941 [1979], a grimly fitting allusion indeed given Spielberg’s link to the TZ disaster and the role he played in setting off the allegorical Zone Wars and its tragicomic obsession with CGI enhanced film art to prevent another fatal film set debacle.  Indeed, Santa Monica beach and its amusement park and pier figured as prominently in 1941 as in SOUTHLAND TALES, while the beautiful, blonde, exuberantly clueless, constantly costume, hairdo and makeup changing Kapowski resembled the equally blonde, beautiful, vapid and implicitly Dorothy linked Betty Douglas-played by Dianne Kay-of 1941, affirming the implicit link of the two films.

        In addition, Treer Products, the company owned by Baron Von Westphalen, whose off-shore Utopia Three power generator produced, via tidal movement and “quantum entanglement”, the renewable, hydroelectric, CGI realized and linked wireless “energy field” and alternate fuel source known as “Fluid Karma”-the eccentric exuberance with which the Baron promoted Fluid Karma evoking the eccentric exuberance with which Lucas promoted CGI at the time, affirming the implicit link of the Baron to Lucas-also affirmed the film’s link to 1941.  For Treer Products evoked Motor Sergeant Frank Tree-played by Dan Akroyd-a surname that reminded us that the surname of L. Frank Baum, the author of the allegorical and implicitly Queen Victoria and United Kingdom roasting children’s novel The Wonderful Wizard Of Oz [1900] also meant “tree”, affirming the implicit Ozian theme of 1941 and SOUTHLAND TALES.

        Fittingly, the film also alluded to the many zany characters, creative chaos and L.A. settings of the twilit, allegorical and Ozian themed Alex Cox indie docufeature film REPO MAN [1984] and the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Lucas toasting and Spielberg roasting Bigelow indie docufeature artbuster STRANGE DAYS [1995].  Thus, it was fitting that the film ended by merging the endings of 1941, REPO MAN and STRANGE DAYS, as half of the quixotic and caterwauling characters were killed near the end of the film when the Wizard Baron’s Fluid Karma powered blockbuster CGI enhanced beast the Jenny Von Westphalen Megazeppelin was ironically taken out on its maiden voyage by Kefauver with a missile blasted from a shoulder fired and heat seeking Syrian ground to air rocket launcher while standing on top of Mung’s floating ice cream truck, a sight which evoked the floating Chevy Malibu at the end of REPO MAN, in an eucatastrophic CGI explosion.  Meanwhile, multi-coloured explosions of regular fireworks filled the nighttime sky as some L.A. streets filled with citizens celebrating a new Independence Day on July 4, 2008 while others fought each other and UPU2 officers, thus bringing the film full embattled circle to the nuclear explosion near Abilene on July 4, 2005 that kicked off the film and evoking the sight and sound of exuberant partygoers who filled the downtown L.A. core and rang in New Year’s Eve 1999 at the end of STRANGE DAYS while fighting raged between celebrants and the police, and the fighting between sailors and soldiers in the dance clubs and streets of L.A. in 1941.

        Curiously, while fighting and dancing filled the streets below, up above the gleefully duplicitous Wizard, Baron Von Westphalen, his mysterious Munchkin colleague, Dr. Kuntzler, and the equally mysterious Theory in his secret control room died along with most of the film’s implicitly CGI supporting characters in the CGI explosion that took out the blockbuster CGI MegaZeppelin beast, the Jenny Von Westphalen, in the end, a huge explosion that reminded us that explosive endings often ended the films of the STAR WARS Classic Trilogy and the STAR WARS Tragic Trilogy, reaffirming the implicit interest in Lucas on one level in SOUTHLAND TALES.  Thus, Kelly implied that he felt that Lucas had failed to kick off a neo eon of CGI film art with the STAR WARS Tragic Trilogy, and also implicitly affirmed that he wanted to leave behind the twilit and disastrous year of ’82 and the CGI enhancement that had been developed and perfected after the TZ disaster.  For Baron Von Westphalen and Dr. Kuntzler were played by Shawn and Rubinstein, respectively, who were openly linked forever to 1982 by his role as himself in the allegorical Louis Malle indie docufeature film MY DINNER WITH ANDRE [1982] and by her role as the fearless and intrepid ghostbuster Tangina in POLTERGEIST, while the Dick resembling and implicitly linked Theory was also linked to BLADE RUNNER and the March 5, 1982 death of Dick.  Indeed, the fact that Smallhouse, the Southern aide de camp of Republican Sen. Frost, died along with the wacky Baron, Dr. Kuntzler and the other main characters on the Jenny Von Westphalen, was played by Larroquette openly affirmed the implicit TZ disaster exorcising intent of the end of SOUTHLAND TALES, for Larroquette openly linked the film to 1982-83, Landis, Spielberg and the TZ disaster through his role as an unmasked Southern KKK member menacing Bill Connor-played by Morrow-in the opening Landis episode of TWILIGHT ZONE: THE MOVIE.

        Curiously, the implicitly Lynch linked Santaros also died in the explosion that took out the Jenny Von Westphalen, implying that Kelly thought Lynch would not make it in the neo millennium of film art despite not being interested in CGI.  Indeed, the film’s allusions to the twilit, allegorical and L.A. set Lynch moving paintings LOST HIGHWAY [1997] and MULHOLLAND DRIVE [2001] as well as to the twilit and allegorical Lynch moving painting DUNE [1984] reaffirmed the film’s implicit film artist roasting intent and the implicit link of Santaros to Lynch.  In fact, the sight and sound of singer Rebekah Del Rio returning from MULHOLLAND DRIVE shortly before the end as herself again to sing “The Star Spangled Banner” in Spanish and English openly linked SOUTHLAND TALES to that dream-like and mysterious moving painting.

Significantly, one of the few characters who was not killed in the MegaZeppelin explosion or the fighting in the street was Taverner, who had been split into a past and a future self like Santaros after driving Santaros through a fourth dimensional rift in the fabric of space/time in the Nevada desert that evoked the fourth dimensional rift that opened up and transported Darko back to the future past end of the beginning of DONNIE DARKO.  However, with a healing and harmonizing handshake reconciling these two selves while floating inside Mung’s ice cream truck at the end of the film, Kelly implicitly hoped that Gilliam would reconcile his madcap animaction film art with the CGI age and continue to succeed as a CGI enhanced film artist.  Curiously, Abilene also survived, partying down in the street, implying that Kelly hoped that Tarantino would also continue to succeed as a film artist. 

        Curiously, not long after the release of SOUTHLAND TALES, Bryan Singer implicitly roasted Kelly in the implicit form of DAILY PLANET assistant editor Richard White-played by James Marsden-the boyfriend of the implicitly Diablo Cody linked Lois Lane-played by Kate Bosworth-to the frustrated dismay of the implicitly Jason Reitman linked Clark “Kal-El” Kent aka “Superman”-played by Brandon Routh-in the twilit, allegorical and CGI enhanced super satirical animaction film SUPERMAN RETURNS [2006], released on June 21, 2006.  Lynch also fittingly and implicitly roasted Kelly that year in the implicit form of actor Devon Berk-played by Justin Theroux-in the twilit and allegorical indie moving painting INLAND EMPIRE [2006], a film released on September 6, 2006 and whose implicit allegorical intent was affirmed by the moving painting’s allusions to DONNIE DARKO.

        The following year, Virgo implied that the madcap SOUTHLAND TALES left him wondering if Kelly was more than just a brilliant and confident young film artist who featured racist characters in his film art and was actually a racist himself and symbolically forced Kelly to prove himself by having the Kelly resembling and implicitly linked pugilist ex-con Donnie Rose-played by Rossif Sutherland-free himself from a racist cloud that hung over him by agreeing to a boxing match with a boxer of African descent named Ossie Paris-played by Flex Alexander-in the twilit and allegorical indie docufeature film POOR BOY’S GAME [2007], a film released on February 11, 2007 and an implicit allegorical intent affirmed by the film’s allusions to DAREDEVIL, DONNIE DARKO and SOUTHLAND TALES.  Not long after, Sam Raimi implied his dislike of SOUTHLAND TALES and implicitly brought his Spider-Man Trilogy to a trimatic conclusion by having the exuberantly geeky and implicitly Cronenberg linked DAILY BUGLE photographer Peter Parker aka “Spider-Man”-played by Tobey Maguire-triumph over the implicitly Kelly linked Flint Marko aka “the Sandman”-played by Drew H. Church-and the implicitly Timberlake linked Edward “Eddie” Brock jr. aka “Venom”-played by Topher Grace-at the end of the twilit, allegorical and CGI enhanced super satirical animaction film SPIDER-MAN 3 [2007], a film released on April 3, 2007 whose implicit Kelly roasting intent on one level was also affirmed by the film’s allusions to DAREDEVIL, DONNIE DARKO and SOUTHLAND TALES.

        The following year kicked off with Rawson M. Thurber implying his hope that Kelly would leave behind his implicit obsessions with Gilliam, Lucas and Lynch and head off into bold new time travelling cinematic territory like the implicitly Kelly linked economics student Arthur “Art” Bechstein-played by Jon Foster-left behind the wild and implicitly Gilliam linked Cleveland Arning-played by Peter Sarsgaard-the implicit Lucas linked Mohammed-played by Omid Abtahi-and his gangster father, the implicitly Lynch linked Joseph “Joe” Bechstein-played by Nick Nolte-after a memorable summer of ’83 in Pittsburgh at the end of the twilit and allegorical indie docufeature film THE MYSTERIES OF PITTSBURGH [2008], a film released on January 20, 2008 that was inspired by the twilit and allegorical Michael Chabon indie docufiction novel The Mysteries Of Pittsburgh [1988] and whose implicit allegorical intent was affirmed by the importance of books and reading in the film and by the film’s allusions to DONNIE DARKO, LOST HIGHWAY, MULHOLLAND DRIVE, SOUTHLAND TALES, 12 MONKEYS, the allegorical and implicitly New Hollywood roasting Gilliam and Terry Jones co-directed indie docufeature film MONTY PYTHON AND THE HOLY GRAIL [1975] and the twilit and allegorical Lynch telemoving painting series TWIN PEAKS [1990-91].  Three months later, Andy and Lana Wachowski implicitly linked Kelly to the petulant, vainglorious and Evil World Racing League (WRL) racer Snake Oiler-played by Christian Oliver-who was taken on and taken out by the Good, down to earth, modest, virtuous and implicitly Sir Peter Jackson linked indie WRL racer Speed Racer-played by Nicholas Elia as a boy and by Emile Hirsch as a young man, respectively-at the end of the twilit, allegorical and CGI enhanced animaction film SPEED RACER [2008], a film released on April 28, 2008.

        Later that year, Peter Sollett also implicitly linked Kelly to lonely lovestruck indie bass playin’ teen Nick O’Leary-played by Michael Cera-in the twilit and allegorical indie docufeature film NICK & NORAH’S INFINITE PLAYLIST [2008], a film released on September 6, 2008 that was inspired by the twilit and allegorical Rachel Cohn and David Levithan indie docufiction novel Nick & Norah’s Infinite Playlist [2006].  Curiously, the film ended with Nick abandoning the sexy and implicitly Hollywood linked blonde Tris-played by Alexis Dziena-for the implicitly SCC linked Norah Silverberg-played by Kat Dennings-implying the hope of Sollett that Kelly would also stick to indie film art instead of beastly Hollywood blockbusters.  For his part, in the sight and sound of the young and implicitly Kelly linked CIA Agent Roger Ferris-played by DiCaprio-being beaten, bitten, tortured, humbled and humiliated in his desperate and determined quest to hunt down and arrest the implicitly Spielberg linked terrorist leader Al Saleem-played by Alon Aboutboul-Sir Scott implicitly urged Kelly to stay grounded and not get too cocky, kid, in the twilit, allegorical and CGI enhanced indie docufeature artbuster BODY OF LIES [2008], a film released on October 5, 2008 whose implicit Kelly roasting intent was affirmed by allusions to SOUTHLAND TALES.

        As for Kelly, he “returned” to Virginia for real this time when he donned the writer/director/co-producer hats and teamed up again with Bauer, Durrett, Ferry, Hammond, McKittrick, Osborne, Poster, Wyatt, SOUTHLAND TALES co-executive producer Edward H. Hamm jr. and Warner Brothers, the studio that supervised and released TWILIGHT ZONE: THE MOVIE, on his next confident, mature, brilliant, original, creative, twilit, allegorical and slightly CGI enhanced indie docufeature film THE BOX [2009], a film released on September 17, 2009 that was inspired by the allegorical Matheson short story “Button, Button” [1970], a story written by one of the most prolific writers for the original TWILIGHT ZONE telefilm series who had also revised his original teleplay for the allegorical Richard Donner telefilm “Nightmare At 20,000 Feet” [1963], a season five episode of the original TWILIGHT ZONE telefilm series, for the fourth and final Miller episode of TWILIGHT ZONE: THE MOVIE, and a story that had also inspired the twilit and allegorical Peter Medak telefilm “Button, Button” [1986], which was one half of episode twenty of season one of the Eighties revamp of the TWILIGHT ZONE telefilm series, amply affirming the implicit twilit spirit of the latest Kelly film and making it all too fitting that it was made with Warner Brothers.

“Well then, push the button,

see what happens.”

        Curiously, after no opening titles like SOUTHLAND TALES, and a mysterious and classified National Security Agency [NSA] internal memo meant for NSA Deputy Director Martin Teague that was about a lightning strike survivor named Arlington James Steward who after recovering from the strike had constructed an equally mysterious device and was delivering it to private residences, the film began with the Lucas resembling and implicitly linked Arthur “Art” Lewis-played by James Marsden-and his implicitly Polley linked wife Norma Lewis-played by Cameron Diaz-being woken up in their bed in their Christmas decorated house in Richmond, Virginia at 5:45 am in the early morning of December 16, 1976 by the sound of their front door bell ringing, evoking the sight and sound of Darko waking up in the hills outside Middlesex, VA at the beginning of DONNIE DARKO, and the July 4^th beginning of SOUTHLAND TALES.  Significantly, Arthur and Norma had been woken up by the mysterious and perhaps extraterrestrial intelligence controlled lightning strike survivor Arlington J. Steward-the left side of his face horrifically burned, scarred and sheared off by the lightning strike, and played by Frank Langella-the mysterious character mentioned in the opening NSA internal memo, who left an equally mysterious wooden box with a button on top on their doorstep.

        Just as significantly, later that day, Steward made Norma, a beautiful, blonde, intelligent, educated, luving and luvly but physically handicapped housewife and low paid Libby Hill Academy English teacher like Ms. Pomeroy in DONNIE DARKO, an offer she couldn’t refuse to make a million dollars in cash neatly contained in a briefcase if she would kill a stranger by pushing the button on top of the mysterious box that he left on the Lewis doorstep earlier that morning.  Thus, the sight and sound of Norma deciding to give up on her financially struggling and physically imperfect but vital humanity and pushing the murderous button for the million dollar award, a decisive push that dragged her and her husband Art, who turned out to be a NASA camera expert and aspiring astronaut, and their son and Libby Hill Academy student Walter-played by Sam Oz Stone-into a twilit nightmare that led to Walter going as blind as Murdock and deaf as well and Arthur being forced to choose the right one path amongst three TIME BANDITS evoking CGI space/time portals of destiny shortly before he shot Norma through the heart, murdering her to end the twilightmare and return sight and sound to Walter in another deadly and moving end to a Kelly film thus openly linking a foolish lust for money to the end of the luv, hopes and dreams of Art implied that Kelly believed that Lucas had killed his film art and his life as a film artist when he abandoned film art for film art’s sake to create blockbuster CGI enhanced beasts like the STAR WARS Classic Trilogy and the STAR WARS Tragic Trilogy and that Polley was wrong to implicitly sympathize with Lucas in the implicit form of the distraught and retired Norse mythology Professor Grant Andersson-played by Gordon Pinsent-in the daylit and allegorical indie docufeature film AWAY FROM HER [2006].

        Fittingly, Steward and his wife Clymene-played by Deborah Rush-were implicitly linked to Coppola and his wife Eleanor, an implicit link affirmed by the film’s allusions to the allegorical and implicitly David Secter roasting Coppola indie docufeature film YOU’RE A BIG BOY NOW [1966], the twilit, allegorical, CGI enhanced and implicitly Cameron roasting Coppola indie docufeature film BRAM STOKER’S DRACULA [1992], and the twilit, allegorical, CGI enhanced and implicitly Lynch roasting Coppola indie docufeature film YOUTH WITHOUT YOUTH [2007], for it reminded us that Coppola was a longtime friend of Lucas and an uncompromising film artist who had always been committed to film art for film art’s sake rather than film art for beastly CGI enhanced blockbuster loot’s sake.  It was also fitting that Osborne returned as the implicitly Lynch linked Richmond Police Department [RPD] detective father-in-law of Lewis, Richard “Dick” Burns, as Lynch was another bloodied but unbowed film art for film art’s sake film artist.

        Last but not least, it was also fitting that the name of Art Lewis evoked that of actor Art Lewis, who played a drunk in the allegorical Robert Florey telefilm “The Fever” [1960], a first season episode of the original TWILIGHT ZONE telefilm series, reaffirming the implicitly twilit spirit of THE BOX.  For “The Fever” was about a man named Franklin Gibbs-played by Everett Sloane-who succumbed to a madcap and fatal lust for slot machine loot on a trip to Las Vegas with his wife, a madcap lust that evoked the equally madcap and beastly lust for blockbuster fortune and glory that overwhelmed New Hollywood film artists over the course of the Seventies and early Eighties and set the stage for the TZ disaster.  This implicitly twilit dimension to THE BOX was also affirmed by the fact that Arthur, Norma and Walter created another twilit trio composed of one female and two males that evoked the fateful twilit trio of Vic, Renee and My-ca.  Twilit, indeed, given that the Lewis family lived at 7321 Park in Richmond, VA, and that the day that Norma pushed the button and destroyed the life and luv of Art she and Art woke up at 7:23 am.

        Perhaps, not surprisingly, given the implicit fear and loathing with which beastly and blockbuster CGI enhanced film art was treated in DONNIE DARKO, SOUTHLAND TALES and THE BOX, Kelly disappeared from the CGI enhanced Temple Theatre like Lynch after 2009.  However, while the allegorical film art of Kelly disappeared, Kelly did not entirely disappear.  For Cameron implicitly linked Richard “Rich” Kelly to Jacob “Jake” Sully-played by Sam Worthington-and sent the paralyzed from the waist down military vet to the brave new CGI lunar world of Pandora in the twilit, allegorical and CGI enhanced indie animaction Zonebuster AVATAR [2009], a film released on December 10, 2009 whose implicit allegorical intent was affirmed by the film’s allusions to DAREDEVIL and SOUTHLAND TALES and by the fact that Pandora was the name of one of the production companies that produced DONNIE DARKO.  Significantly, by having Sully undergo difficult trials and tribulations before he became one with the local Nav’i warriors and the only one on Pandora to ever ride a CGI enhanced blockbuster beast of a leonopteryx, Cameron also implicitly warned Kelly that despite his talent and confidence, he still had a ways to go before he truly became a successful film artist.

        Fittingly, given Kelly’s implicit fondness for books, the following year, David Mitchell had the implicitly Lucas linked Doctor Lucas Marinus help the implicitly Kelly linked Jacob de Zoet and the implicitly SCC linked Aibagawa Orito triumph over the insidious and either implicitly Cameron or Spielberg linked Lord Abbot Enomoto in the twilit and allegorical indie docufiction novel The Thousand Autumns Of Jacob De Zoet [May 2010], an implicit allegorical intent affirmed by the novel’s allusions to DONNIE DARKO, SOUTHLAND TALES, THE BOX and the twilit, allegorical, CGI enhanced and Ozian themed SCC indie docufeature film LOST IN TRANSLATION [2003].  Not surprisingly, given that AVATAR challenged their status as the world’s leading creator of animated and animaction film art, the Walt Disney Company and Joseph Kosinski closed that film art year by having the implicitly Lucas linked Kevin Flynn-played by Jeff Bridges-triumph over his Evil and implicitly Cameron linked digital doppelganger Codified Likeness Utility aka “CLU”-also played by Bridges-allowing the implicitly Kelly linked Sam Flynn-played by Garret Hedlund-to live to see, live and luv another day at the end of the twilit, allegorical and CGI enhanced animaction film TRON LEGACY [2010], a film released on November 30, 2010 whose implicit allegorical intent was affirmed by allusions to DONNIE DARKO, the STAR WARS Classic Trilogy, the STAR WARS Tragic Trilogy and the original presciently twilit, allegorical, CGI enhanced and implicitly Lucas and Spielberg toasting Disney and Steven Lisberger animaction film TRON [1982].

        For her part, Polley implicitly roasted Kelly in the implicit form of chicken Lou-fittingly played by Rogen-and implicitly toasted Lucas in the implicit form of virile Dan-played by the fittingly named Luke Kirby-in the daylit and allegorical indie docufeature film TAKE THIS WALTZ [2011], a film released on September 10, 2011 whose implicit Kelly addressing intent on one level was affirmed by the film’s allusions to DONNIE DARKO, SOUTHLAND TALES and THE BOX.  Then Derek Cianfrance implicitly addressed Kelly in the twilit, allegorical and CGI enhanced indie docufeature film THE PLACE BEYOND THE PINES [2012], released on September 7, 2012.

“You’re too smart for your own good.”

        Not that the film’s implicit Kelly addressing intent was affirmed at the outset, for Act One of the film began in Schenectady, New York on another night on the carnival circuit with the blonde, handsome, Mark Hamill evoking and implicitly Lucas linked indie motorcycle stunt rider Luke Glanton-as haunted by his missing father as Luke Skywalker, and played by Ryan Gosling-roaring around with two other stunt motorcyclists inside a spherical and Death Star evoking metal stunt cage in a tight and trimatic trio that reminded us of the three films of the STAR WARS Classic and Tragic Trilogies.  Afterwards, Glanton met up again with a Linda Ronstadt evoking old flame named Romina Gutierrez-played by Eva Mendes-one year after their fling and discovered that he was the father of their young infant son Jason Kancam-played by Angelo Anthony Pizza.  Shocked by the news, Glanton quit the carny circuit to stay in Schenectady to help Romina look after Jason. 

Unfortunately, unable to find a well paying job, he allowed himself to be persuaded by a friend he met in town, the possibly Spielberg linked Robin Van Der Hook-played by Ben Mendelsohn-to join him on a spree of blockbuster bank robberies.  Alas, all went well until Glanton had a falling out with Van Der Hook and decided to rob one final bank alone, a third robbery where everything went wrong and where the pursuing Schenectady Police Department [SPD] finally caught up with his escaping motorcycle and, after a wipeout led to a short pursuit on foot, the implicitly Kelly linked SPD Officer Avery Cross-played by Bradley Cooper-shot him dead in a confrontation, ending Act One.

        Act Two revolved around Officer Cross recovering from the gunshot wound to the right thigh that Glanton left him with, his newfound wounded hero status, and his guilt about leaving Jason and Romina without a father and a boyfriend.  Act Two also revolved around Officer Cross dealing with his wounded demotion to evidence room supervisor, a demotion that slowly made him aware of and involved in the practice of corrupt SPD cops led by Detective Peter Deluca-played by Ray Liotta-dipping into the captured evidence so they could plant it on criminals and make showy arrests.  Leading to Officer Cross bringing his knowledge and evidence to District Attorney Bill Kilcullen-played by Bruce Greenwood-in return for a promise that DA Kilcullen would go after these corrupt cops, give him full immunity from prosecution, and make him assistant DA.  All of which DA Kilcullen resignedly agreed to, leading to the arrest of all of the corrupt SPD cops, and the end of Act Two.

        Act Three began fifteen years later at the funeral of Judge Albert Cross-played by Harris Yulin-the father of Assistant DA Cross, where the now divorced Assistant DA, campaigning to be made District Attorney, met his ex-wife Jennifer-played by Rose Byrne-who persuaded him to allow their perhaps Jason Reitman linked son A.J.-played by Emory Cohen-to live with him.  Curiously, living with his serious and determined father led the drug luvin’ stoner slacker A.J. to meet the teenaged and perhaps Gary W. Wright linked indie Rebel Jason Kancam-played by Dane DeHaan-in high school and bond over their mutual fondness for drugs.  A drug addled bond that eventually led to Kancam finding out to his horror while attending a party at Cross’s house that A.J.’s father was the ex-SPD officer who shot and killed his dad.  A revelation that led to an angry and violent confrontation between the two teens, and the next day to Kancam getting a gun, returning to the Cross house, sneaking in, knocking out A.J., and then confronting and kidnapping Avery soon after when he returned home. 

Forcing Avery to drive them both in his car outside town and then to walk into the woods and kneel down, Jason almost shot and killed him, but decided against it, in the end.  Taking Avery’s wallet, money and car, Jason hurried out of the woods and drove off, leaving Avery to complete his successful run for DA with A.J. beside him onstage at the victory celebration, implying the hope of Cianfrance that Kelly would succeed again as a film artist, and perhaps also implying his hope that Reitman would continue to succeed as a film artist, an implicit interest in Kelly on one level affirmed by the film’s allusions to DONNIE DARKO, SOUTHLAND TALES and THE BOX.  As for Jason, he eventually reappeared buying an used motorcycle and then hopped on, started it up and roared off west on his own Journey of Self Discovery, ending Act Three and the film on a fittingly trimatic note and implying that Cianfrance believed that a bit of the indie Rebel spirit of Lucas would live on in the bodies, hearts, minds and souls of audiences despite the disappointing, embittering, infuriating and even shocking misadventures of Lucas, and perhaps also implying the new hope of Cianfrance that the poor ol’ Gardevil would succeed with his Zone War website, an implicit interest in Lucas on one level that was affirmed by allusions to the STAR WARS Classic Trilogy, the STAR WARS Tragic Trilogy, THX 1138 and the allegorical Lucas indie docufeature film AMERICAN GRAFFITI [1973].

The following year, Kosinski and company implicitly and sympathetically addressed Kelly’s sojourn in fourth dimensional film limbo in the form of the Kelly resembling and implicitly linked Earth straggler Jack Harper-played by Tom Cruise-but wondered if the high price to be paid to rejoin the Titans of the film industry would be worth it if the price involved becoming a powerless puppet of the pitiless CGI enhanced blockbuster machine world in the twilit, allegorical and CGI enhanced docufeature film OBLIVION [2013], a film released on March 26, 2013 whose implicit Kelly addressing intent was affirmed by the importance placed on books and reading in the film and by the film’s allusions to DONNIE DARKO, SOUTHLAND TALES, THE BOX and THE MYSTERIES OF PITTSBURGH.  For his part, Christopher Nolan implicitly linked Kelly to struggling space/time traveller Joseph Cooper-played by Matthew McConaughey-and implicitly hoped that Kelly would leave his self imposed exile in the fourth dimension and return to the Temple Theatre like Cooper worked his way out of a third dimensional trap in a five dimensional space/time warp and back to reality at the end of the twilit, allegorical and CGI enhanced docufeature film INTERSTELLAR [2014], a film released on October 26, 2014 whose implicit allegorical intent was affirmed by the film’s allusions to DONNIE DARKO and SOUTHLAND TALES.

        As for Disney and Marvel, they implicitly decided that Kelly and his indomitable commitment to brilliant, confident, creative, original and slightly CGI enhanced indie docufeature film art was worthy of another super satirical roast and toast in the daylit, allegorical and CGI enhanced Peyton Reed super satirical animaction film ANT-MAN [2015], a film released on June 29, 2015 whose implicit Kelly addressing intent on one level was affirmed by allusions to AVATAR, DONNIE DARKO, OBLIVION, NICK & NORAH’S INFINITE PLAYLIST, POOR BOY’S GAME, SOUTHLAND TALES, THE BOX and THE MYSTERIES OF PITTSBURGH.

“Don’t let your past

determine your future.”

        Indeed, the diminished presence in the Temple Theatre of the brilliant, creative and talented but tragicomically naïve and innocent Kelly was implicitly linked throughout the film to the diminished presence of the equally brilliant, creative and talented but tragicomically naïve and innocent Scott Lang aka “Ant-Man”-based on a character created by Jocund John Byrne, Bashful Bob Layton and Dapper David Michelinie for Marvel Comics, and played by Paul Rudd.  Thus, the triumph, in the end, of Lang over the dastardly and implicitly Jeff Bezos linked Pym Tech CEO Dr. Darren Cross aka “Yellowjacket”-played by Corey Stoll-implied the hope of Dis, Marv and Reed that Kelly would triumph over his fears and troubles and return to prominence with another great film in the Temple Theatre, in the end.  Indeed, the presence of the bitter, haunted, regretful, wistful and implicitly Landis linked Doctor Henry “Hank” Pym aka the original “Ant-Man”-based on a character implicitly linked to Frank Frazetta created by Kirby, Lee and Laconic Larry Lieber for Marvel Comics, and played by Michael Douglas-and the implicitly Kate Capshaw linked Hope Van Dyne-created by Tantric Tom DeFalco and Ribald Ron Frenz for Marvel Comics, and played by Evangeline Lilly-also affirmed Kelly’s implicit link to Lang, for their frustrating struggle to get Lang’s Ant-Man mojo working with the help of the powerful Pym particle so that he could defeat Dr. Cross evoked the equally frustrating struggle of Dr. Grace Augustine-played by Sigourney Weaver-and her team of scientists to get Sully’s Nav’i avatar mojo working on Pandora in AVATAR.  A struggling and diminished presence theme fittingly supported by the link of Henry to Landis, an implicit link affirmed by the film’s allusions to the allegorical and equally mayhem filled Landis docufeature film THE BLUES BROTHERS [1980], and the implicit link of Hope to Capshaw, reminding us that Landis also faded from view after the TZ disaster and that Capshaw faded from view after marrying Spielberg in the Nineties. 

        In addition, the sight and sound of Ant-Man learning to ride a flying ant that he named “Ant-thony” also evoked the sight and sound of Sully learning to ride a flying banshee and the dread blockbuster leonopteryx beast in AVATAR, reaffirming the implicit link of Sully to Kelly.  Indeed, the presence of Lang’s potential brother-in-law and San Francisco Police Department [SFPD] Officer Jim Paxton-played by Bobby Cannavale-affirmed the film’s allusions to Cameron and AVATAR, reminding us that Wild Bill Paxton was Cameron’s lucky charm actor who appeared in many of his most successful films, reaffirmed the diminished presence theme of the film and linked the film to THE BOX.  Of course, the presence of Harris as Gale not only also affirmed the film’s implicit interest in Cameron as his surname reminded us that Cameron was once married to film producer Gale A. Hurd, but also openly affirmed the film’s implicit Kelly addressing intent, as Harris played the implicitly Virgo linked Dion Element in SOUTHLAND TALES.  Last but not least, Lang’s descent into the CGI enhanced quantum realm at the end of the film reaffirmed the film’s implicit Kelly addressing intent, as the CGI quantum zone evoked the CGI enhanced trips through the fourth dimension in DONNIE DARKO, SOUTHLAND TALES and THE BOX.

        Significantly, Ant-Man’s small but memorable dustup with the keen eyed, vigilant and implicitly Will Smith linked Sam Wilson aka “Falcon”-played by Anthony Mackie-midway through the film also introduced Lang to the dissembling Avengers, an embattled introduction that was expanded when Scott Lang aka “Ant-Man”-played again by Rudd-had another combative encounter with some of the rest of the Avengers in the daylit, allegorical and CGI enhanced Anthony and Joseph Russo super satirical animaction film CAPTAIN AMERICA: CIVIL WAR [2016], a film released on April 12, 2016 that was based on a superhero group created by Kirby and Lee for Marvel Comics.

“I got something kinda big.

But I can’t hold it very long.”

        Curiously, Lang did not show up until he fought at the end of the film on the side of the implicitly American film artist linked superheroes who were inspired by the loyal, patriotic and implicitly Clint Eastwood linked Steve Rogers aka “Captain America”-played by Chris Evans-against the implicitly Canadian film artist linked superheroes who were inspired by the brilliant, brash, and implicitly Reitman linked billionaire Anthony “Tony” Stark aka “Iron Man”-played by Robert Downey jr.  Humourously, given that Lang surprised everyone by unexpectedly showing off his ability to transform from Ant-Man to “Giant Man” toward the end of this super rumble, Dis and Marv implicitly reaffirmed and the Russo Brothers implied their hope that Kelly would return to prominence with another brilliant, creative, mature and original hit film like DONNIE DARKO.  As implicitly long as Kelly was not cut down by an insightful review of that eagerly awaited film by the poor ol’ Gardevil, as the spontaneous and STAR WARS Classic Trilogy inspired quick thinking and rebel webbing of the allusive, elusive, radioactive spider powered and implicitly Gardevil linked Peter Parker aka “Spider-Man”-played by Tom Holland-brought Giant Man down to size in that memorable super rumble at the Leipzig airport.

        Just as curiously, Tim Burton implicitly joined the implicit chorus of film artist voices calling for the return of Kelly when he implicitly linked Kelly to Jacob “Jake” Portman-played by Asa Butterfield-and had him help the eccentric and implicitly Milla Jovovich linked time manipulator Miss Alma Peregrine-played by Eva Green-and a group of X-Men evoking and truly peculiar children fight off the implicitly Cronenberg linked Barron-played by Samuel L. Jackson-and his Evil Hollows compadres in the twilit, allegorical and CGI enhanced animaction arbuster MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN [2016], a film released on September 25, 2016 whose implicit Kelly addressing intent was affirmed by allusions to DONNIE DARKO and THE BOX.  As for Zack Snyder and Joss Whedon, they implicitly disagreed with Dis and Marv and linked Kelly to the CGI enhanced alien Evildoer Steppenwolf-played by Ciaran Hinds-and had his nefarious and madcap plot to end his exile and destroy Earth with the help of an unholy and twilit trinity of Mother Boxes of Doom [MBOD] and legions of insect men stopped by the revived and implicitly Reitman linked Clark “Kal-El” Kent aka “Superman”-based on a character created by Genial Jerry Siegel and Joltin’ Joe Shuster for DC, and played by Henry Cavill-the implicitly Wright linked indolent Gotham City playboy and masked Caped Crusader Bruce Wayne aka “Batman”-based on a character created by Brilliant Bill Finger and Bouncin’ Bob Kane for DC, and played by Ben Affleck-and other indomitable MetaHuman members of the fearless and indomitable Justice League in the twilit, allegorical and CGI enhanced super satirical animaction film JUSTICE LEAGUE [2017], a film released on October 26, 2017 whose implicit Kelly roasting intent on one level was affirmed by allusions to ANT-MAN, DONNIE DARKO, SOUTHLAND TALES and THE BOX.  For their part, Dis, Marv and the Russo Brothers implicitly evoked the spirit of Kelly the following year in the daylit, allegorical and CGI enhanced super satirical animaction film AVENGERS: INFINITY WAR [2018], released on April 23, 2018.

“In order to take the stone,

you must lose that which you love.

A soul for a soul.”

        For while the implicitly Kelly linked Scott Lang aka “Ant-Man/Giant Man”-played by Rudd-did not appear in the film due to being under house arrest in San Francisco for breaking his parole by leaving the U.S. to fight in the super brawl in Germany at the end of CAPTAIN AMERICA: CIVIL WAR, the spirit of Kelly and his film art haunted the film like the future ghost of Frank haunted DONNIE DARKO and the lovelorn spirit of Jenny Von Westphalen haunted SOUTHLAND TALES, keeping Ant-Man in AVENGERS: INFINITY WAR in spirit if not in body.  Indeed, the sight and sound of the Asgardian refugee spaceship Statesman being blown up by the even larger spaceship of the mad, CGI enhanced and implicitly Michael Eisner linked Titan, Thanos-played by Josh Brolin-at the beginning of the film evoked the sight and sound of the Treer Megazeppelin Jenny Von Westphalen being blown up by Kefauver at the end of SOUTHLAND TALES.  The anguished sight and sound of the part human/part alien and implicitly Luc Besson linked Peter Quill aka “Star Lord”-played by Chris Pratt-working up the nerve to kill the beautiful but deadly and implicitly Leeloo linked Gamora-played by Zoe Saldana-to save her from the insidious intentions of her adoptive “father” Thanos; the equally anguished sight and sound of Thanos killing Gamora in order to possess the orange Soul Infinity Stone on the deadly planet Vormir; and the ultimately anguished sight and sound of the implicitly Emily Lynch linked Wanda Maximoff aka “the Scarlet Witch”-played by Elizabeth Olsen-using her strange magic to kill the implicitly Cronenberg linked Vision-played by Paul Bettany-in order to prevent the yellow Mind Infinity Stone in his forehead from falling into the truly sinister left-handed Infinity Gauntlet of Thanos before he wiped out half the living beings in the Marvel Cinematic Universe [MCU] all also evoked the anguished sight and sound of Art killing Norma at the end of THE BOX in order to atone for pressing the button on the box and killing someone they did not know and to save and heal Walter. 

All of which prepared audiences for Disney, Marvel and the Russo Brothers teaming up again to have the implicitly Kelly linked Scott Lang aka “Ant-Man/Giant Man”-played again by Rudd-teaming up again with the implicitly Landis linked Dr. Henry Pym and the implicitly Capshaw linked Hope Van Dyne-played again by Douglas and Lilly, respectively-for more bruising blockbuster battles and tantalizing trips into the CGI enhanced and fourth dimension evoking quantum zone in the daylit, allegorical and CGI enhanced Reed super satirical animaction film ANT-MAN AND THE WASP [2018], a film released on June 25, 2018 whose implicit allegorical intent was affirmed by allusions to CATCH ME IF YOU CAN, DONNIE DARKO, NICK & NORAH’S INFINITE PLAYLIST, SOUTHLAND TALES, THE BLUES BROTHERS and THE BOX.

“Quantum entanglement,

Scott.”

        Curiously, the film saw Ant-Man, Dr. Pym and Van Dyne’s winged will o’ the Wasp battle the troubled and implicitly Meghan Markle linked Ava Starr aka “Ghost”-played by Hannah John-Kamen-a supervillianess whose “molecular disequilibrium” problem caused her to constantly flicker uncertainly in and out of existence in an implicitly wry comment on how Markle was now uncertain whether she was an American “commoner” or English “royalty” in her new role as the wife of Prince Harry.   Just as curiously, while they were frantically trying to come to grips with the elusive and allusive Ghost, Ant-Man also worked hard with Dr. Pym and the Wasp to free Henry’s implicitly Deborah Nadoolman linked wife Janet Van Dyne, the original Wasp-based on a character implicitly linked to Ellie Frazetta created by Kirby, Lee and Eager Ernie Hart for Marvel Comics, and played by Michelle Pfeiffer-from the Twilight Zone as well as fourth dimension evoking quantum zone in a “Little Girl Lost” and POLTERGEIST evoking quest that affirmed the implicitly twilit theme of the film.

        Given that Lang, Pym and Van Dyne did in fact succeed in freeing Janet from the twilit quantum zone and in defeating the irritating Ghost to bring both quests to a successful conclusion in the end, with Ant-Man also allowed to cut loose as Giant Man again as in CAPTAIN AMERICA: CIVIL WAR, Reed implied his hope that CGI had become so advanced that film artists would never again have to worry about fatal film set disasters, thus freeing John and Deborah-the wife of Landis and longtime costume designer for his films-from the Twilight Zone and ending the dread allegorical Zone Wars at last.  Significantly, however, whether a daylit and brave neo eon of CGI enhanced film art would truly begin in the new millennium was suddenly left in doubt at the end of the film, for Lang was left trapped in the quantum zone when he was sent there via a quantum tunnel after Hank, Hope and Janet dissolved away and disappeared into limbo like many of the other marvelous superheroes and superheroines at the end of AVENGERS: INFINITY WAR.  Preparing audiences for the sight and sound of the implicitly Kelly linked Scott Lang aka “Ant-Man/Giant Man”-played again by Rudd-returning to help the remaining Avengers solve the Thanos Conundrum when Dis, Marv and the Russo Brothers teamed up again with Bettany, Brolin, Douglas, Downey jr., Evans, Holland, Lilly, Olsen, Pratt, Rudd and Saldana and the rest of the dissembling cast and crew on the daylit, allegorical and CGI enhanced super satirical animaction film AVENGERS: ENDGAME [2019], released on April 22, 2019.

“So, BACK TO THE FUTURE

is a bunch of bullshit?”

        Indeed, Lang-also played in the time travellin’ film by Bazlo and Loen LeClair as a baby, Jackson A. Dunn as a twelve year old, and Lee Moore as a ninety-three year old, respectively-was released from the CGI enhanced quantum zone when a rat ran over the top of the controls of the Seventies van turned quantum teleportation tunnel that Dr. Pym and the Van Dynes used to send Lang to the quantum zone at the end of ANT-MAN AND THE WASP and turned the machine back on.  Freeing Lang to team up with all of the marvelous heroes that were not dissolved and sent to limbo at the end of AVENGERS: INFINITY WAR on a multi-time travelling adventure that involved entering the CGI enhanced quantum zone again and exiting before the arrival of Thanos-the left side of his face almost as horrifically scarred and damaged as that of Steward in THE BOX after using the Infinity Stones to destroy the Infinity Stones at the ending beginning of the film, and played again by Brolin-at various points in the future past in order to hunt down the six Infinity Stones and then use them to finally defeat the pesky and cosmic balance mad Titan, save the day and bring life, health and harmony back to the MCU in a super spectacular eucatastrophic triumph.

        Significantly, back in the future past, the implicitly Eastwood linked Steve Rogers aka “Captain America”-played again by Evans-and the implicitly Nikita linked Nebula-played by Karen Gillan-met and battled their past selves, evoking the sight and sound of the past and future selves of Santaros and Taverner confronting each other at the end of SOUTHLAND TALES, reaffirming the implicit interest in Kelly on one level in AVENGERS: ENDGAME, an implication also affirmed by the film’s allusions to DONNIE DARKO.  The sight and sound of the implicitly SCC linked Russian assassin turned Avenger Natasha Romanoff aka “Black Widow”-played by Scarlett Johansson-dying in front of the anguished eyes of the implicitly Sir Scott linked Clint Barton aka “Hawkeye”-played by Jeremy Renner-in order to recapture the orange Soul Infinity Stone during another deadly trip to Vormir again evoked the sight and sound of Norma dying in front of the anguished eyes of Art in order to atone for using the box and to save Walter at the end of THE BOX. 

Last but not least, the sight and sound of Lang staring rapturously out of a window in the Avengers complex in upstate New York at the renewed world, after the genial, brainy, glasses wearing and implicitly Lucas linked Doctor Bruce Banner aka “Smart Hulk”-played by Mark Ruffalo-restored the MCU with a snap of his right Infinity Gauntleted hand, only to watch a rocket from the spaceship of Thanos roar toward the window shortly before the final showdown with the mad Titan and his malevolent minions at the end of the film evoked the sight and sound of Pinzicki and Smallhouse watching through the side windows of the MegaZeppelin as the rocket blasted by Kefauver roared toward the blockbuster CGI enhanced beast at the end of SOUTHLAND TALES, reaffirming the implicit link of Lang to Kelly and the implicit interest in the film art of Kelly on one level in AVENGERS: ENDGAME.  Thus, the fact that Lang succeeded in helping the Avengers defeat Thanos and his lackeys and return harmony back to the universe implicitly reaffirmed the hope of Dis, Marv and the Russo Brothers that Kelly would triumph over his fears and return to the Temple Theatre with another brilliant, confident, creative, and original indie docufeature film.

        Curiously, Lana Wachowski also implicitly linked Kelly to the new Agent Smith-played by Jonathan Groff-and had him take on and try to take out the neo and implicitly Reitman linked Neo-played again by Keanu Reeves-in the twilit, allegorical, CGI enhanced and Ozian themed docufeature film THE MATRIX RESURRECTIONS [2021], a film released on December 16, 2021 whose implicit Kelly roasting intent on one level was affirmed by allusions to DONNIE DARKO and SOUTHLAND TALES.  As for Dis, Marv and Reed, they implicitly decided it was time for more super encouragement for Kelly, for two years later they teamed up again with Douglas, Lilley, Pfeiffer, Rudd and Stoll on the daylit, allegorical and CGI enhanced super satirical animaction film ANT-MAN AND THE WASP: QUANTUMANIA [2023], a film released on February 15, 2023 whose implicit interest in Kelly was affirmed by more allusions to DONNIE DARKO, SOUTHLAND TALES, THE BOX and the STAR WARS Classic and Tragic Trilogies.

“You know how dangerous

the quantum realm is?”

Indeed, the genial and implicitly Kelly linked everyman genius and San Fran based ex-con Scott Lang aka “Ant-Man/Giant Man”-played again by Rudd-and the implicitly Capshaw linked Dr. Hope Van Dyne aka “the Wasp”-played again by Lilley-united in the quantum realm with Lang’s sadolescent daughter, the ambiguously linked Cassie Lang aka “Ant-Girl/Giant Girl”-played by Kathryn Newton-the implicitly John and Deborah Landis linked Dr. Henry Pym and Janet Van Dyne-played again by Douglas and Pfeiffer, respectively-and the indomitable and implicitly Wachowski linked rebel leader Jentorra-an implicit link affirmed by allusions to THE MATRIX RESURRECTIONS and the rest of the original Matrix Trilogy, and played by Katy O’Brian-in a desperate bid to defeat the implicitly Mad Vlad Putin linked Kang the Conqueror-played by Jonathan Majors-deep in the timeless and mysterious heart of the quantum realm.  Alas, the marvelous heroes and heroines were unable to succeed in their quest, as Kang escaped and used his insight into the multiverse to amass multiple alternate versions of himself for a return engagement in another super satirical animaction film to come, evoking the equally multitudinous, madcap and grandiose versions of the liberated Agent Smith-played by Hugo Weaving-in the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Lucas addressing Lana and Lilly Wachowski indie animaction hung fu film THE MATRIX REVOLUTIONS [2003] to reaffirm the implicit interest in Wachowski on one level in ANT-MAN AND THE WASP: QUANTUMANIA.  Thus, it was fitting that the film alluded to the film art of Lucas, evoking not only the implicit interest in Lucas in the film art of Kelly but the implicit fondness of the Wachowski Sisters for the film art of Lucas, and the implicit link of Lucas to Neo-also played by Reeves-in the Matrix Trilogy. 

At any rate, it was another implicit nod to Kelly that would hopefully inspire the indomitably indie film artist to stop encouraging audiences to think that he was dead, to cease to resist the call of film art, to finally leave behind his self imposed exile in the fourth dimension and to return like Cooper and Lang to reality and the Temple Theatre with another brilliant, confident, complex, creative, fearless, mature, original, thought provoking and ironically CGI bashing CGI enhanced indie docufeature film perhaps set at Earthy and Springing Easter to complete his elementally Ozian Holiday Quartet whose success would allow him to rise again to Giant Man prominence and reaffirm his luv of books and…twilit tales.

Bibliography

Kelly, Richard.  The Donnie Darko Book.  London: Faber and

        Faber Limited, 2003.

-----.  Southland Tales: the prelude saga.  Anaheim, CA:

        Graphitti Designs, Inc., 2007.

Mitchell, David.  The Thousand Autumns Of Jacob De Zoet.

        Toronto: Alfred A. Knopf Canada, 2010.