coming to grips with the mad world
of CGI enhanced blockbuster film art
in the twilit and allegorical film art
of Richard Kelly
by Gary W. Wright
While still quite young when a helicopter crash killed 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 and Frank Marshall executive produced Landis, Joe Dante, George Miller and Steven Spielberg film TWILIGHT ZONE: THE MOVIE (1983), James Richard Kelly was implicitly quite shaken by the TZ disaster. For the TZ disaster was the central implicit theme of his three surprisingly mature, confident, fearless, original, creative and brilliant and slightly computer generated imagery (CGI) enhanced allegorical indie docufeature films. Indeed, Kelly implicitly and earnestly used his trilogy of films to try to break audiences, film art, film artists and the Temple Theatre free from the disaster and kick off a daylit new millennium of CGI enhanced film art, starting with his first twilit, allegorical, slightly CGI enhanced and Ozian themed indie docufeature film DONNIE DARKO (2001), which was first screened 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, one of the film’s first opening titles identified the film as “…A richard kelly FILM”, an odd but implicit affirmation of the pride he 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 to find to his amused surprise that he was sleeping on a road in a t-shirt and pajama bottoms in a setting of stunningly beautiful and visionary hills, a surreal beginning heightened by the softly swelling, dreamy, haunting and surreal sounds of the twilit, allegorical and Michael Andrews composed, piano based and background vocal enhanced instrumental tune “Carpathian Ridge” (2001) playing on the soundtrack. Then this amused, puzzled and unknown teenaged boy rode his ten speed road racer back 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 teenage boy rode up the driveway of his house and walked past his mother when he entered the back door of the house. Significantly, Rose Darko-played by Mary McDonnell-was sitting on a lawn chair reading the twilit and allegorical Screamin’ Stephen King indie docufiction novel It (1986), openly 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 King’s allegorical novella collection Different Seasons (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 twilit, allegorical and implicitly Ozian themed film roasting George A. Romero indie docufeature film CREEPSHOW (1982).
Later, at dinner that night, the rest of the Darko family-David Lynch resembling father Eddie, older sister Elizabeth and younger sister Samantha, played by Holmes Osborne, Maggie Gyllenhaal and Daveigh Chase, respectively-not only affirmed that the teenaged boy was the eponymous Donald “Donnie” Darko but increased the film’s implicit link to and interest in the twilit and disastrous year of 1982. For the two adults and three children evoked the two adults and three children of the Freeling family in the twilit, allegorical and implicitly Coppola clan addressing Tobe Hooper animaction film POLTERGEIST (1982), a film co-written and co-produced by Spielberg. How eerily fitting, given that POLTERGEIST was released in the fall of ’82 several months after the TZ disaster, that POLTERGEIST was inspired by the allegorical and Richard Matheson scripted Paul Stewart telefilm “Little Girl Lost” (1962), a season three episode of the original TWILIGHT ZONE telefilm series.
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 after the Darko family dinner on October 2, 1988 when Darko was awakened by a telepathic voice that persuaded him to get out of bed, leave his room and sleepwalk downstairs and out of the house by the front door. Significantly, shortly before Darko opened and walked out the twilit front door, the camera panned up to reveal a chandelier hanging above the door. This shot recalled a similar upward panning shot to reveal another chandelier hanging from a ceiling in an apartment at the beginning of the twilit and allegorical Spielberg telefilm “Eyes”, the first episode of the three part pilot telefilm of the Rod Serling telefilm series NIGHT GALLERY (1969), openly linking the film and Darko to Serling, Spielberg, the TWILIGHT ZONE and the TZ disaster.
Eerily, in the darkness outside, Darko met the owner of the telepathic voice, a creepy and implicitly Great Oz linked bunnyman named Frank-who sort of resembled a nightmare version 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 was played by James Duval-making it fitting that an Echo & The Bunnymen tune accompanied Darko on his bike ride home at the beginning of the film, a twilit nightmare bunnyman whose name evoked Marshall and whose appearance recalled that of a nightmare rabbit in “It’s A Good Life”, the third Dante episode of TWILIGHT ZONE: THE MOVIE. 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 as a mysterious jet engine fell on the Darko house soon after Donnie left to join Frank, crushing Donnie’s second floor bedroom, a falling jet engine that reaffirmed the film’s implicitly twilit intent, for it evoked the crashing helicopter in the TZ disaster. 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 motivational speaker James “Jim” Cunningham-played by Patrick Swayze-another unexpected wakeup that again linked young Darko to God’s green Earth, and, hence, the Scarecrow.
Darko’s nervous return to the Middlesex Ridge School (MRS), a private Christian high school for mischievous munchkin boys and girls, soon after the accident reaffirmed the film’s implicit interest in the TZ disaster. For waiting for the school bus to pick up Donnie, Samantha and their friends, we discovered that one of Darko’s fellow students was 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. Meeting the implicitly Wicked Witch of the West linked gym teacher Miss Kitty Farmer-played by Beth Grant-and the implicitly Dorothy linked Gretchen Ross-whose surname reminded us that in 1982 Steve Ross was CEO of Warner Brothers, the studio that produced and released TWILIGHT ZONE: THE MOVIE, and played by Jena Malone-in the high school halls as well also reaffirmed the implicit twilit spirit and Ozian theme of DONNIE DARKO. Indeed, the appearance of Darko’s archetypical frustrated and heartbroken English teacher Ms. Karen Pomeroy-who was fond of the allegorical and implicitly British Commonwealth roasting Graham Greene short story “The Destructors” (1954) and was played by Drew Barrymore, also the head executive producer of the piece-openly linked the film to Spielberg and the twilit and disastrous year of 1982, for Barrymore played Gertrude “Gertie” Thomas in the 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 fear liberating self-help book Attitudinal Beliefs (200?)-and MRS Principal Cole-played by David Moreland. Intriguingly, the names of Principal Cole and James “Jim” Cunningham evoked that of a character who was as confused and as troubled as Darko, the quixotic and implicitly Lucas linked future time traveler James “Jim” Cole-played by Bruce Willis-in the twilit, allegorical, sadcap and CGI enhanced Gilliam indie animaction film 12 MONKEYS (1995), an allusion that set us up for the 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 the fittingly named Katharine Ross-shortly after he used an axe that 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 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 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 medicine cabinet mirror in the bathroom of his swingin’ subterranean pad in the eerily twilit and allegorical 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, thus implicitly affirming that Darko was actually linked to Lucas. This implication that Darko was actually linked to Lucas was reaffirmed by the presence of the implicitly Glinda the Good Witch of the North linked Dr. Roberta Sparrow-played by Patience Cleveland-author of the helpful and insightful tome The Philosophy Of Time Travel (????).
The implication that Darko was actually 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 when she was run over by a red Trans Am with the twilit and JD Jedi license of JD6 4892 that was driven by a horrified Frank and that had actually already been seen roaring by Darko as he rode home from the hills on his ten speed at the beginning of the film. A Frank wearing the nightmare bunnyman suit that turned out to just be 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 nightmarish and twilit future. However, after shooting Frank dead in fury for inadvertently killing Gretchen, Darko, 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 by a divine CGI tornado that implicitly linked him to the Great Oz and to Air and that was straight out of the black and white 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 affirming the Ozian theme of the film and implicitly linking Darko to the four 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 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 TWLIGHT 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 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 DONNIE DARKO full circle back to the ending beginning of the film. 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 destroyed his room.
Curiously, despite being cruelly kissed by fateful free will, Darko’s death was not in vain. 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, 1988 when she was run over by Frank. 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” 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 Padme Amidala-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, 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 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 determined, resolute and implicitly Lynch linked 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 that on one level the film was implicitly addressing Cameron. Indeed, the film’s allusions THE ABYSS and to 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), released on December 16, 2002. 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 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 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 blockbuster loot lusting and implicitly Lucas linked gang boss Wilson “Kingpin” Fisk-perhaps originally linked to DC Comics 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 ensure that indie film art always had a home in the Temple Theatre throughout the film, an implicit intent affirmed by the film’s allusions to DONNIE DARKO. Murdock’s implicitly Spielberg linked father Jack “the Devil” Murdock-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 martial arts warrioress Elektra Natchios-inspired by a character created by Frolicking Frank Miller for Marvel Comics, and played by Jennifer Garner.
As for Kelly, the unexpected and uncertain new terrorist combating reality set off by 911 inspired him to return with Grant, Osborne and Lisa K. Wyatt-who played indomitable fear conqueror Linda Connie in a Cunningham motivational video in DONNIE DARKO-and co-producer Sean McKittrick, costume designer April Ferry, director of photography Steven Poster, editor Sam Bauer and production designer Alexander Hammond-also from DONNIE DARKO-in his next confident, mature, brilliant, fearless, original, creative, twilit, allegorical, slightly CGI enhanced and Ozian themed indie docufeature film SOUTHLAND TALES (2006), which was first screened on May 21, 2006.
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 neighbourhood in Abilene, Texas, reminding us that DONNIE DARKO began its closing climax early in the morning of Hallowe’en 1988 and evoking the more grim sight and sound of neighbours gathering around the Darko house after the jet engine fell on the roof of the house at the back to the future past end of DONNIE DARKO. An ominous reminder, for the relaxed and festive July 4th spirit was soon shattered by a CGI realized nuclear attack on Abilene that 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.
However, given that this neo-World War set off by a CGI realized nuclear explosion that polarized the country and led three years later in the hot summer of 2008 to Los Angeles based members of the Republican Party and its USident cybersecurity monitoring department battling radical L.A. members of the far left known as the Neo-Marxists and pragmatically crass indie lone wolves who exploited or jeered at both sides also implicitly evoked the war in the world of film art set off by the equally explosive and polarizing arrival of CGI that was being fought by 2006 by those film artists who eagerly embraced CGI enhancement and digital film and those film artists who disdained CGI enhancement and preferred celluloid film, Kelly implied that he was also roasting this battle between CGI supporting and CGI opposing film artists on another level in SOUTHLAND TALES. Indeed, implicitly leading the implicitly CGI embracing Republican ranks were characters like the implicitly Bigelow linked Madeline Frost-Santaros-played by Mandy Moore-the implicitly Cameron linked Republican aide Vaughan Smallhouse-played by John Larroquette-the eccentric and implicitly Great Oz and Lucas linked “renegade scientist” and wonderful Wizard, Baron Von Westphalen-played by Wallace Shawn-the implicitly Proyas linked Fortunio Balducci-played by Will Sasso-the implicitly Glinda the Good and Spielberg linked Doctor 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-and the implicitly Bob Iger linked U.S. 2008 Presidential hopeful and Texas Senator Robert “Bobby” Frost-played by Osborne-and Iger’s wife, the implicitly Willow Bay and Wicked Witch of the West linked L.A. USiDent head Nana Mae Frost-played by Miranda Richardson.
For their part, leading the implicitly CGI rejecting and Republican battling Neo-Marxist ranks were the Philip K. Dick luving and implicitly Alfred Hitchcock linked UPU2 Officer Barton “Bart” Bookman-played by Jon Lovitz-the implicitly Ang Lee linked Kenny Chan-played by Mike Nielsen-the implicitly Sarah Polley linked Veronica “Dream” Mung-played by Amy Poehler-the implicitly Sir Ridley Scott linked Bing Zinneman-played by Todd Berger-the implicitly Susan Siedelman linked adult film director Cyndi Pinzicki-played by Nora Dunn-and the implicitly Clement Virgo linked Dion Element-played by Wood Harris. Last but not least, leading the ranks of pragmatically crass indie lone wolves who exploited or jeered at both sides were the implicitly Gilliam and Tin Man linked and fourth dimensional rift time travelling UPU2 Officers Roland and Ronald Taverner-played by Seann W. Scott-the implicitly Landis linked Martin Kefauver-played by Lou T. Pucci-the implicitly Cowardly Lion and Lynch linked Hollywood action star, aspiring film artist and fellow fourth dimensional rift time traveller Boxer Santaros-played by Dwayne Johnson-Veronica’s father, the illicit, ice cream truck driving and implicitly David Cronenberg linked weapons dealer Walter Mung-played by Christophe Lambert-and the implicitly Madonna linked Starla Von Luft-played by Michelle Durrett.
Curiously, all of these embattled main characters were first introduced and then had their tragicomic exploits further expounded upon with a film long voiceover (VO) narration by the inexplicably omniscient and Book of Revelations luving and quoting Falujah battle scarred Iraq War vet and implicitly Scarecrow and Quentin Tarantino linked ex-actor, ex-Marine and Santa Monica beach security man Pilot Abilene-played by Justin Timberlake-a film long VO narration that evoked the film long VO narration of the adult Murdock in DAREDEVIL and of Harrison Ford's cynical and implicitly Lucas linked Rick Deckard in the original theatrical release of the eerily and presciently twilit, allegorical, CGI enhanced and Ozian themed Sir Scott indie docufeature artbuster BLADE RUNNER (1982), linking another Kelly film to the twilit and disastrous year of 1982. Indeed, the presence of the fearless, pugnacious and implicitly Patricia Rozema linked Neo-Marxist rebel Zora Charmichaels-played by Cheri Oteri-openly affirmed the link of the film to BLADE RUNNER, for Zora evoked Joanna Cassidy's equally pugnacious renegade Replicant, Zhora, in BLADE RUNNER, also set in a future L.A.
In addition, the presence on the production of conceptual artist Ron Cobb also openly linked SOUTHLAND TALES to BLADE RUNNER and the twilit and disastrous summer of ‘82, for Cobb also worked on BLADE RUNNER. The surname of Taverner also 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 novel Flow My Tears, The Policeman Said (1974), reminding us that the allegorical and implicitly Disney animatronic “people” roasting Dick novel Do Androids Dream Of Electric Sheep? (1968) inspired the creation of BLADE RUNNER. Thus, it was appropriate that the mysterious Simon Theory-played by Kevin Smith-hidden away in the secret control room in the Treer Megazeppelin, resembled Dick as much as Karl Marx.
Fittingly, and to affirm the implicit film artist roasting intent of SOUTHLAND TALES, the film’s many zany characters and narratives and its post-nuclear sneak attack agitated, soldier filled, terrorism obsessed and edgy L.A. bristling with mounted machine gunners evoked the many tragicomic characters and zany narratives of the post-Pearl Harbour sneak 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 roasting Spielberg 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 dread allegorical Zone Wars and its tragicomic obsession with CGI enhanced film art to prevent another fatal film set debacle. Indeed, the Santa Monica amusement park, beach and pier figured as prominently in 1941 as in SOUTHLAND TALES, while Sarah M. Gellar’s constantly costume, hairdo and makeup changing, exuberantly clueless, implicitly Dorothy and either Paris Hilton or Pamela Anderson Lee linked porn star and aspiring film star/screenwriter/pop star Krysta Kapowski resembled Dianne Kay’s implicitly Dorothy linked Betty Douglas of 1941, affirming the implicit link of the two films.
In addition, Treer Products, the company owned by Baron von Westphalen, whose off-shore generator produced, via tidal movement and “quantum entanglement”, the renewable, hydroelectric, CGI realized and linked wireless electricity network known as Fluid Karma-the eccentric exuberance with which the Baron promoted Fluid Karma evoking the same 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 Dan Akroyd's character Motor Sergeant Frank Tree, 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 themes of 1941 and SOUTHLAND TALES.
Fittingly, the film also alluded to the many zany characters, creative chaos and L.A. settings of the twilit and allegorical Alex Cox indie docufeature film REPO MAN (1984) and the twilit, allegorical and CGI enhanced Bigelow 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 and blockbuster CGI Treer MegaZeppelin beast, the Jenny Von Westphalen, 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 the roof 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 while multi-coloured explosions of regular fireworks filled the nighttime sky as some L.A. streets celebrated Independence Day on July 4, 2008 in a way that brought the film full embattled circle to the nuclear attack on Abilene on July 4, 2005 that kicked off the film and evoked the exuberant crowd of partygoers that filled the downtown L.A. core and rang in New Year’s Eve 1999 at the end of STRANGE DAYS while fighting raged in other streets of L.A, fighting which evoked the fighting between sailors and soldiers in the streets of L.A. in 1941.
Curiously, while fighting and dancing filled the streets below, in the end, up above the gleefully duplicitous Wizard, Baron von Westphalen, and his mysterious Munchkin colleague, Dr. Katarina Kuntzler, ironically died along with most of the film’s implicitly CGI supporting characters in the CGI explosion that took out the blockbuster CGI MegaZeppelin beast, not only reaffirming the implication already implied in DONNIE DARKO that Kelly felt that Lucas had failed to kick off a neo eon of CGI film art with his STAR WARS Tragic Trilogy, but also implicitly affirming that Kelly wanted to leave behind the twilit and disastrous year of 1982 and the CGI enhancement that had been spawned by the TZ disaster. For Von Westphalen and 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. The fact that Smallhouse, the Southern aide de camp of Republican Sen. Frost who also died in the same explosion that destroyed the Jenny von Westphalen, was played by Larroquette reaffirmed the implicit TZ disaster exorcising intent of the end of SOUTHLAND TALES, as Larroquette openly linked the film to 1982-83, Landis, Spielberg and the TZ disaster through his role as an unmasked Southern KKK member menacing Morrow's character Bill Connor in the Landis episode of TWILIGHT ZONE: THE MOVIE.
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 in 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 streets, implying that Kelly hoped that Tarantino would also continue to succeed as a film artist. Last but not least, 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. Indeed, singer Rebekah Del Rio returned from MULHOLLAND DRIVE shortly before the end as herself again in an open link of SOUTHLAND TALES to that dream-like and mysterious moving painting.
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 “Superman” Kent-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 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 saga of SOUTHLAND TALES left him wondering if Kelly was more than just a film artist who featured racist characters in his film art and 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 contusion by having the exuberantly geeky and implicitly Cronenberg linked DAILY BUGLE photographer Peter “Spider-Man” Parker-played by Tobey Maguire-triumph over the implicitly Kelly linked Flint “Sandman” Marko and the implicitly Timberlake linked Edward “Eddie” Brock jr. aka Venom-played by Drew H. Church and Topher Grace, respectively-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 affirmed by the film’s allusions to DAREDEVIL, DONNIE DARKO and SOUTHLAND TALES.
In addition, Rawson M. Thurber implied 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 implicitly Gilliam linked Cleveland Arning-played by Peter Sarsgaard-the implicitly Lucas linked Mohammed-played by Omid Abtahi-and his 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 allegorical Michael Chabon 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 film MONTY PYTHON AND THE HOLY GRAIL (1975) and the twilit and allegorical Lynch telemoving painting series TWIN PEAKS (1990-91).
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 and inspired by the twilit and allegorical Rachel Cohn and David Levithan novel Nick & Norah’s Infinite Playlist (2006). Curiously, the film ended with Nick abandoning the sexy and implicitly Hollywood linked 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 the film’s allusions to SOUTHLAND TALES.
As for Kelly, he “returned” to Virginia for real this time when he teamed up again with Bauer, Durrett, Ferry, Hammond, McKittrick, Osborne, Poster, Wyatt and SOUTHLAND TALES co-executive producer Edward H. Hamm jr. 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 and 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.
“Listen to your conscience.
Do what it tells you.”
Curiously, after no opening titles like SOUTHLAND TALES and a mysterious internal National Security Agency memo about a lightning strike survivor named Arlington James Steward up to strange things, the film began with the Lucas resembling and implicitly linked Arthur “Art” Lewis-played by Marsden-and his implicitly Polley linked wife, Norma Lewis-played by Cameron Diaz-being woken up in their bed in their 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 at dawn in the hills outside Middlesex, VA at the beginning of DONNIE DARKO. Significantly, Arthur and Norma had been woken up by Frank Langella’s mysterious and perhaps extraterrestrial intelligence controlled lightning strike survivor Arlington James Steward, the mysterious character mentioned in the opening NSA bulletin.
Just as significantly, later that day, Steward made Norma, a beautiful, intelligent, educated, luving and luvly but physically handicapped housewife and low paid 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 her doorstep in early that fateful morning scant weeks before Christmas of ‘76. 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, her NASA camera expert and aspiring astronaut husband Art and their son, 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 murdering Norma to end the twilightmare and return sight and hearing to Walter in another deadly and moving end to a Kelly film thus openly linking a lust for money to the end of Art implied that Kelly believed that Lucas had killed his film art and his life as a film artist for abandoning 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 form of distraught retired Norse mythology teacher Professor Grant Andersson-played by Gordon Pinsent-in the daylit and allegorical indie docufeature film AWAY FROM HER (2006). And so Kelly implicitly roasted Lucas again in his third film, a third film that fittingly trimaxed with Arthur forced to choose the one right path amongst three CGI portals of destiny shortly before he shot Norma through the heart to bring healthy and harmony back to Walter and himself.
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 Canadian film art 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 for blockbuster loot’s sake. It was also fitting that Osborne returned as the implicitly Lynch linked police 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 to contrast with Singer.
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), episode seventeen of the original TWILIGHT ZONE telefilm series. For “The Fever” was about a man named Franklin Gibbs-played by Everett Sloane-who succumbed to a fatal lust for slot machine loot while on a trip to Las Vegas with his wife, a lust that evoked the lust for fortune and glory that overwhelmed New Hollywood artists and led to the TZ disaster. This implicit twilit dimension to the tale was reiterated by the fact that Arthur, Norma and Walter created another twilit trio composed of one female and two males that evoked the twilit trio of Vic, Renee and My-ca. Twilit, indeed, given that the Lewis family lived at 7321 Park in Richmond, and that the day that Norma pushed the button and destroyed the life of Art she and Art woke up at 7:23 am.
Perhaps not surprisingly, given the implicit fear and loathing with which blockbuster CGI enhanced super satirical 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-during his adventures on the brave new CGI lunar world of Pandora in his twilit, allegorical and CGI enhanced indie animaction docufeature Zonebuster AVATAR (2009), a film released on December 10, 2009 and 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 film production companies that produced DONNIE DARKO. Significantly, by having Sully undergo difficult trials and tribulations before he became a Nav’i 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 came a successful film artist.
The following year, David Mitchell implicitly 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 Cameron or Spielberg linked Lord Abbot Enomoto in the twilit and allegorical 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 leading creator of animated and animaction film art, Disney 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 Garrett 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), released on November 30, 2010 and an implicit allegorical intent affirmed by the film’s allusions to DONNIE DARKO, the STAR WARS Classic Trilogy, the STAR WARS Tragic Trilogy and the original presciently twilit, allegorical and CGI enhanced 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 Kosinski and company sympathetically addressed Kelly’s sojourn in 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 rejoin the Titans of the film industry would be worth it if the price would involve becoming a powerless puppet of the pitiless CGI enhanced blockbuster machine in their twilit, allegorical and CGI enhanced docufeature film OBLIVION (2013), a film released on March 26, 2013 and whose implicit Kelly addressing intent was affirmed by the importance of books and reading in the film and the film’s allusions to DONNIE DARKO, SOUTHLAND TALES, THE BOX and THE MYSTERIES OF PITTSBURGH. Just as curiously, Christopher Nolan implicitly linked Kelly to struggling space/time traveller Joseph Cooper-played by Matthew McConaughey-in 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 commitment to brilliant and original indie film art was now worthy of having his “super” status changed from indie super villain back to indie superhero, for they implicitly roasted him in the form of another marvelous superhero in the twilit, allegorical and CGI enhanced Peyton Reed super satirical animaction film ANT-MAN (2015), released on June 29, 2015 and an implicit Kelly roasting intent affirmed by the film’s allusions to AVATAR, DONNIE DARKO, OBLIVION, NICK & NORAH’S INFINITE PLAYLIST, POOR BOY’S GAME, SOUTHLAND TALES, THE BOX and THE MYSTERIES OF PITTSBURGH.
“This is not some cute technology
like the Iron Man suit.”
Indeed, the diminished presence of the brilliant and talented but tragicomically naïve and innocent Kelly was implicitly linked to that of the equally brilliant and talented but tragicomically naïve and innocent Scott “Ant-Man” Lang-based on a character created by Jocund John Byrne, Bashful Bob Layton and Dapper David Michelinie for Marvel Comics, and played by Paul Rudd-throughout the film. The presence of the 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 Tom DeFalco and 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 so that he could defeat the implicitly Jeff Bezos linked Doctor Darren Cross-played by Corey Stoll-evoked the equally frustrating struggle of Doctor Grace Augustine-played by Sigourney Weaver-and her team of scientists to get Sully’s avatar mojo working in AVATAR. The link of Henry to Landis-an implicit link affirmed by the film’s allusions to the allegorical and equally mayhem filled Landis film THE BLUES BROTHERS (1980)-and Hope to Capshaw also supported the “diminished presence” theme of the satirical piece, reminding us that Landis faded from view after the TZ disaster and that Capshaw faded from view after marrying Spielberg.
Significantly, the sight and sound of Ant-Man learning to ride a flying ant he named Ant-thony also evoked the sight of Sully learning to ride a flying banshee and the dread blockbuster leonopteryx in AVATAR, affirming the implicit link of Sully to Kelly. Indeed, the presence of Bobby Cannavale as Paxton affirmed the film’s allusions to Cameron and AVATAR, reminding us that Bill Paxton was Cameron’s lucky charm who appeared in his most successful films. Of course, the presence of Harris as Gale not only 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 zone at the end of the film reaffirmed the film’s implicit Kelly addressing intent, as the quantum zone evoked the CGI enhanced trips through the fourth dimension in the film art of Kelly.
Ant-Man’s small but memorable dustup with the keen eyed, vigilant and implicitly Will Smith linked Sam “Falcon” Wilson-played by Anthony Mackie-also introduced Lang to the dissembling Avengers, an introduction expanded when Scott “Ant-Man” Lang-played again by Rudd-had another combative encounter with most of the rest of the Avengers in the twilit, allegorical and CGI enhanced Anthony and Joseph Russo super satirical animaction film CAPTAIN AMERICA: CIVIL WAR (2016), released on April 12, 2016.
“I got something kinda big.
But I can’t hold it very long.”
Curiously, as the film saw Lang-played again by Rudd-show off his ability to transform from Ant-Man to Giant Man when he fought at the end of the film on the side of the implicitly American film artist linked superheroes who were inspired by the implicitly Clint Eastwood linked Steve “Captain America” Rogers-played by Chris Evans-against the implicitly Canadian film artist linked superheroes who were inspired by the implicitly Jason Reitman linked Tony “Iron Man” Stark-played by Robert Downey, jr.-the Russo Brothers implicitly held out their hope that Kelly would return to prominence with another hit film. As implicitly long as Kelly was not cut down by an insightful review of that film by the poor ol’ Gardevil, as the creative quick thinking of the allusive and implicitly Gardevil linked Peter “Spider-Man” Parker-played by Tom Holland-brought Giant Man down to size in that memorable super rumble at the Liepzig airport.
Curiously, Tim Burton implicitly joined the implicit chorus of voices calling for Kelly to come out and play again 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 truly peculiar children fight off the implicitly Cronenberg linked Barron-played by Samuel L. Jackson-and Evil Hollows in the twilit, allegorical and CGI enhanced animaction film 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. Just as curiously, Zack Snyder and Joss Whedon implicitly disagreed with Dis and Marv and linked Kelly to the CGI enhanced alien Evildoer Steppenwolf-played by Ciaran Hinds-and his madcap plot to end his exile and destroy the Earth with the help of an unholy trinity of Mother Boxes of Doom (MBOD) and legions of insect men, a nefarious plot stopped by the implicitly Wright linked Bruce “Batman” Wayne-played by Ben Affleck-and other indomitable MetaHuman members of the fearless 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 was affirmed by the film’s allusions to ANT-MAN, DONNIE DARKO, SOUTHLAND TALES and THE BOX.
As for Lang, he survived being brought down to size by Spidevil in CAPTAIN AMERICA: CIVIL WAR and returned along with Dr. Pym and Van Dyne-played again by Douglas and Lilly, respectively-for more superheroic battles and trips in the CGI enhanced and fourth dimension evoking quantum zone in the twilit, allegorical and CGI enhanced Reed super satirical animaction film ANT-MAN AND THE WASP (2018), released on June 25, 2018 and whose implicit allegorical intent was affirmed by more allusions to DONNIE DARKO, NICK & NORAH’S INFINITE PLAYLIST, SOUTHLAND TALES, THE BLUES BROTHERS and THE BOX.
Curiously, the film saw Ant-Man team up with Dr. Pym and Van Dyne’s winged will o’ the Wasp to battle the implicitly Meghan Markle linked Ava “Ghost” Starr-played by Hannah John-Kamen-a supervillain 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 British “nobility” in her new role as 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 teamed up with Dr. Pym and the Wasp to free Henry’s implicitly Deborah Landis 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 evoking quantum realm in a “Little Girl Lost” and POLTERGEIST evoking quest.
Given that Lang, Pym and Van Dyne did in fact succeed in freeing Janet from the twilit quantum realm, with Ant-Man allowed to cut loose as Giant Man again as in CAPTAIN AMERICA: CIVIL WAR to bring both quests of ANT-MAN AND THE WASP to a successful conclusion, 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 Landis and her costume designer support of his film art 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 was suddenly left uncertain at the end of the film, for Lang was left trapped in the quantum realm after Hank, Hope and Janet vanished into limbo like many of the other marvelous superheroes at the end of the twilit, allegorical and CGI enhanced Russo Brothers 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.”
Curiously, while Lang did not appear in the film due to being under house arrest 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, there were enough nods to the films of Kelly to keep 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 huge spaceship of the implicitly Michael Eisner linked, CGI enhanced and power mad Titan, Thanos-played by Josh Brolin-evoked the sight and sound of the Treer Megazeppelin Jenny Von Westphalen being blown up Kefauver at the end of SOUTHLAND TALES. The anguished sight and sound of the implicitly Luc Besson linked Peter “Star Lord” Quill-played by Chris Pratt-working up the nerve to kill beautiful but deadly and implicitly Leeloo linked Gamora-played by Zoe Saldana-to save her from the insidious intentions of her “father” Thanos; the anguished sight and sound of Thanos killing Gamora in order to possess the orange Soul Infinity Stone on the deadly planet Vormir; and the anguished sight and sound of the implicitly Emily Lynch linked Wanda “the Scarlet Witch” Maximoff-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 fittingly sinister left-handed Infinity Gauntlet of Thanos before he wiped out half the living beings in the MCU also evoked the equally anguished sight and sound of Art killing Norma at the end of THE BOX in order to save Walter and atone for pressing the button and killing someone they did not know.
All of which prepared audiences for the sight and sound of the implicitly Kelly linked Scott “Ant-Man” Lang-played again by Rudd-returning to help the remaining Avengers save the day and bring harmony back to the Marvel Cinematic Universe (MCU) when 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 twilit, 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, Lee Moore as a ninety-three year old, respectively-was released from the CGI enhanced quantum realm when a rat ran over the top of the controls of the Seventies van turned quantum teleportation tunnel and turned the machine back on. Freeing Lang to team up with all of the marvelous heroes on a multi-time travelling adventure that involved entering the CGI enhanced quantum zone again at one point and exiting before the arrival of Thanos-the left side of his face almost as horrifically scarred as that of Steward 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 use them to finally defeat the 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 “Captain America” Rogers-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 in SOUTHLAND TALES, reaffirming the implicit interest in Kelly in AVENGERS: ENDGAME, an implication also affirmed by the film’s allusions to DONNIE DARKO. The sight and sound of the implicitly SCC linked Natasha “Black Widow” Romanoff-played by Scarlett Johansson-dying in front of the anguished eyes of the implicitly Sir Scott linked Clint “Hawkeye” Barton-played by Jeremy Renner-in order to recapture the orange Soul stone in another deadly trip to Vormir again evoked the sight and sound of Norma dying in front of Arthur in order to save Walter and end the twilightmare in THE BOX. Last but not least, the sight and sound of Lang staring rapturously out through a window of the Avengers complex in upstate New York at the renewed world after the implicitly Lucas linked Dr. Bruce “Smart Hulk” Banner-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 final showdown with Thanos 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 released by Kefauver blasted toward the blockbuster CGI enhanced beast at the end of SOUTHLAND TALES, reaffirming the implicit interest in Kelly in AVENGERS: ENDGAME.
A hopefully Kelly inspiring intent, for it was long since past time for him 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 Lang to the Temple Theatre with another brilliant, confident, complex, mature, fearless, original, thought provoking and ironically CGI bashing CGI enhanced film perhaps set at Earthy and Springing Easter to complete his elementally Ozian Holiday Quartet whose success would allow him to rise again to prominence and reaffirm his love of books and twilit tales.
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.