‘As reassuring as a warm hug’: why Donnie Darko is my feelgood movie
The latest in our series of writers paying tribute to their most rewatched comfort films is an unusual journey back to the 1980s through the lens of the early 2000s
If the stereotypical feelgood movie is a cashmere comfort blanket – the kind of film that leaves viewers blissed out on the sofa as the credits roll and Bridget Jones finally gets to snog Mark Darcy – I should probably notify a qualified team of specialists that my own is a tale of teenage alienation, suburban hypocrisy, apocalyptic dread and a man in a monstrous rabbit suit issuing stern instructions about death. Then again, it does have a considerably better soundtrack.
Richard Kelly’s Donnie Darko explored alternate realities decades before the Marvel films and Everything Everywhere All at Once made the multiverse a pop-cultural touchstone. Its tree-lined streets, Halloween skies and teenagers pedalling through suburbia were like a weirder, sadder blueprint for Stranger Things long before Hawkins existed. It’s a suburban fever dream about fate, madness and collapsing timelines, a nightmarish physics puzzle steeped in existential dread. But beneath all the cult-film weirdness, it is also the oddly uplifting story of a lonely, damaged kid who finally understands his place in the world – and sacrifices himself to save it against the backdrop of some of the most luminous 80s alt-pop atmospherics ever recorded.
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