User Reviews

Sometimes I see a movie that I really enjoy, and then I have to stop and wonder what "normal" people would think about it? Here is one such film. Relentlessly observant, sardonically hilarious, and ultimately kind of tragic, this movie demonstrates that irony sometimes reveals the truth better than sincerity.

The plot of "Dark Horse" involves a childish thirty-something toy- collector who lives with his family and works for his father's company. He finds love -- or something which is close enough for him -- in a quiet, depressed, over-medicated, sullen woman he meets at a friend's wedding. Full of unrealistic notions and childish bravado, he can't help but propose to her on their first date. Unexpectedly, she accepts -- not, as is later revealed, because she loves him -- but rather, because she kind of hates herself, and derives some kind of masochistic pleasure out of the idea of living with this man and having his children!

Yes, this is extremely dark territory, but it's rich in ironic humor and the sting of truth. In fact, I'm not sure which is the richer moment -- her confession, or his unbelievably clueless reaction to it.

In all, "Dark Horse" is a very good film that many people simply will not enjoy. If you've seen any of the other works of Todd Solondz ("Welcome to the Dollhouse," "Storytelling"), you will understand why.

Solondz's films are ironically funny, quietly tragic examinations of people who don't quite understand themselves or the world around them. His characters often find themselves adrift in life, lost on the road to happiness, looking for whatever promise or hope they might find -- often to sadly comical effect. His films might make you laugh, make you squirm uncomfortably, give you the chills that come with seeing something truthful revealed, or all three at once. His films are ironic exaggerations of the world around us -- holding up an unflattering funhouse mirror to the faults and vanities that we all live with and try to hide or deny.

"Dark Horse" certainly isn't territory for those looking for a quick escapist flick, but for those looking for something richer, something darker, something ironic and funny but also truthful -- well, this film hits that spot quite well.

"I busted a mirror and got seven years bad luck. My lawyer says he can get me five." - Steve Wright

"Dark Horse" is another depressing film from writer/director Todd Solondz. The plot? Jordan Gelber plays Abe, an overweight man who lives with his parents and works for his father. Stuck in arrested development, Abe collects toys, struggles to date women and uses fancy jewellery and expensive cars to help foster, for himself, the illusion that he may one day "grow up" and "be someone". In this regard Abe sees himself as a dark horse; someone who will one day overcome suffering and set backs to find eventual happiness. The truth, of course, is that these beliefs are defence mechanisms which Abe uses to protect himself from reality. What is this reality? Abe's life has always been one of unhappiness/suffering, and is likely to always be one of unhappiness/suffering. Solondz then asks his audience this: should Abe give up on hope? Should Abe give up on life? Can people change and/or escape themselves?

If you've seen Solondz's other films, you already know the answers. It's all very grim.

Mirrored to Abe is Miranda (Selma Blair), the young woman from Solondz's "Storytelling". She's a failed writer with a disease and suicidal tendencies. Like Abe, she's given up on life. Both Abe and Miranda are avatars of Solondz, people he at one point feared he might himself become. The film then ends with Abe - always unlucky – dying due to a ridiculous series of freak events. People quickly forget about him, with the exception of a lonely co-worker, another dark horse who privately hopes whilst quietly suffering.

Most who view the film react with hostility toward Abe. His suffering is "all his fault", he "is a jerk", he should "man up", "grow up" and stop being a "fat, rude loser". Others spin ridiculous theories: "Abe is a victim of a collapsed housing market", "Abe is suffering financial problems" etc. Why has Abe's life really gone off the tracks? Solondz provides clues (divorce, over sensitivity, inferiority complexes, hair-loss, weight problems, low self esteem, sense of entitlement etc), but the point is that it doesn't matter. With "Palindromes" Solondz already expressed a firm stance: blaming the victim for being unable to escape traps solely because others may have escaped similar traps is a fallacy rooted in a very specific type of optimism. For Solondz, destiny is always fixed, Abe's demise should be treated as a priori and Abe doesn't triumph simply because Abe does not triumph. Anyone in his exact situation would have met the same fate. It is not his fault. It is simply a slow, inexorable inevitability. Forces – social, familial, genetic, psychological, emotional, whatever – are at work here which require huge counter forces to escape. Can Abe muster the energy necessary to escape? He thinks he can, he comes close at times, he maintains throughout much of the film a fiery, heated sense of optimism. But there's only so much he can take, and in the end the universe wins.

The film ends with the reminisces of one of Abe's co-workers. The intention here is to share her moment of grief. To mourn, with her, the passing of Abe, and of course to empathise with her own exclusion. But Solondz can't quite handle the moment. The film's too ironic, too knowing, too smug, to capture the emotional waves which Solondz wants us to ride. It may be a psychologically accurate film, but it's also one which is caustic and depressing rather than sad and touching.

Abe's parents are played by Christopher Walken and Mia Farrow. Farrow gets the film's best scene, in which she consoles her son after he confesses his hatred of the world; life's repeatedly burnt him and so he harbours deep pain/resentment. The film's been compared to the work of Woody Allen and the Coen's Brothers - other directors who wallow in one-note existentialism - but Solondz is far more bleak.

8/10 – Worth one viewing.

I had never seen a Todd Solondz movie before but I was aware of his reputation as a maker of dark movies. The first twenty minutes of this movie hint that he has made a somewhat quirky romcom but don't be fooled.

The movie begins as overweight Abe (Jordan Gelber) gets quiet Miranda's (Selma Blair) number after they share a table at a wedding. He phones her and after a couple of awkward encounters they start going out. Perhaps this will lead to a happy ever after ending as this odd couple discover they are perfect for each other.

Maybe not. Abe lives with his parents (Christopher Walken and Mia Farrow) and works for his Dad. He blames everything and everyone but himself for this situation, his parents, his more successful brother. In reality he is completely self-obsessed. Miranda seems to suffer from depression and is taking a lot of medication. They both desperately want to be loved but perhaps there is a reason that they are unloved. Perhaps they are unlovable and all the wishing in the world won't change this.

Solondz takes an unwavering look at the unattractive traits that we all have and their consequences in our relationships with others. His conclusion seems to be that some people are destined not to have happy lives and perhaps they themselves are the main reason for this. And even if they find some kind of comfort pure bad luck can come in and spoil everything anyway.

Gelber and Blair are excellent in the main roles. In the supporting cast Walken, Farrow and Donna Murphy also excel.

Definitely a film to make you think, though they may not be nice thoughts!

"Dark Horse" is the best movie Todd Solondz has done since "Happiness". It took me two viewings to "get" it, but once I "got" it I have to say the movie has stayed with me.

I now conclude that "Dark Horse" is a surrealist film in the tradition of late-era Bunuel and recent David Lynch. It has more in common with Solondz' "Palindromes" than any of his other work. It isn't meant to be taken literally. Like "Life During Wartime", which was a both a sequel and a re-imagining of "Happiness", the perspective is skewed and left unexplained until the very end. Unfortunately, the explanation isn't clear to those expecting a movie closer in spirit to "Welcome To The Dollhouse".

Almost no one reviewing the movie here on IMDb goes into much detail over (here come the spoilers) Donna Murphy's character. It is, in fact, the crux of the movie: The film is mostly told through Marie's eyes. Abe's perspective is shown here and there (especially in the coma vision he has at Toys R Us) but if you see the majority of the film as Marie's fantasy of Abe-- her dark horse --navigating his fruitless life, then it makes much more poignant sense.

Also, it's clear (to me at least) that, as obnoxious as Abe is, he is also the most un-self-conscious character in the movie, and therefore a relief to Marie and Miranda. At one point Miranda even asks him if he is for real; she wonders if his demeanor is a put-on, some sort of ironic act he is performing for her. When we meet Mahmoud for the first time, we understand why she asked: Mahmoud is as affected as Abe is unaffected.

It is this unaffected poise that compels Marie to root for him, and also causes Miranda to realize that maybe she might care about things after all-- just not to Abe's liking, which is the tragedy of the movie. After infecting him with the disease that kills him, she cannot even bear to tell him what he wants to hear, and he dies shortly after.

It all boils down to the last shot of Marie, daydreaming at work, perhaps dancing with her dark horse, the wrong horse to bet on, the one she was sure was going to break out and win. The revelation that Abe's dad also thought of him as a dark horse (in a scene that may or may not be from beyond the grave) ties it all together as well.

I hope anyone who saw this movie and reviewed it here goes back and watches it again, because it is amazing. Even if you liked it, I think you might have missed something about it the first time around. Never has the phrase "rewards repeat viewings" actually meant something than with this dark horse of a movie.

About this film I can say that it's a tragedy wearing a comedy mask from time to time and that what makes people excited about it. There are not too many intelligent comedies and especially tragic comedies but this one exceeds all expectations. A guy with disintegrated personality and a life with vague purpose who is more like a kidult still growing up mentally. And what about his parents? His father, an obsessive, perfectionistic relentless man and a mother with too soft personality. This film shows this general truth that a chance and much time to change sb's entire life is not given to everybody and we may not have this time for us as our life is very fragile. It's quite sad movie showing sad truths but we definitely should say that it's also like a true diamond among many shining fake glass.

There is nothing like getting two dysfunctional people together to create a successful quirky indie. What I liked about this film more than many of the others in this genre such as "Jack Goes Boating" or "Greenberg" is that I felt comfortable laughing at the plight of the main characters.

Abe (Jordan Gelber) works for his dad and lives at home with his parents (Mia Farrow/ Christopher Walken). He still collects toys and hasn't reached his maturity potential. He lives in the shadow of his successful brother (Justin Bartha). At a wedding, Abe meets Miranda (Selma Blair) a shy, overly medicated woman once married to Mahmoud (Aasif Mandvi). Abe is supported by his secretary (Donna Murphy) who becomes his imaginary conscience.

The setting takes place somewhere in New Jersey between Eagles and Giants country. The title "Dark Horse" is a reference to Abe. His dad likes dark horses. i.e. like the old days when the Giants would lose, but cover the point spread. Abe proposes to Miranda on their second meeting, which she ponders over in her medicated state which is apt for the tone of the film:

Miranda: "I want to want you." Abe: "That's enough for me."

I liked the toy details and shirt selection of Abe. Indie movies pay attention to background details. Although I would have to ask Todd Solondz (writer, director) what real toy collector would remove the Gimli Toybiz figurine from its pack? The "Toys R Us" store logo is blurred out, apparently there being some legal issue. The film gave me a few laughs, worth a view for indie fans. Acting was great.

If you don't like Indie films based on quirky characters with little action, then this is not for you.

Parental Guide: F-bombs. No sex or nudity.

I don't know if "Dark Horse" was the most appropriate title for this movie. The term to me implies an outside chance of a win.

When the movie starts off, Abe seems like a lovable loser that was pampered and emotionally stunted by his parents. He's a 35 year old man-child that lives in his childhood bedroom, collects toys, and works at his fathers company with non-existent job responsibilities and labors under the delusion he's cooler and more important to everyone around him than he really is.

Abe meets his equal in Miranda, his self defeated love interest at a wedding. Abe's ignorance and self obsessed desires doesn't let him see that Miranda has no interest in him as he pushes himself onto her. She only becomes interested when she recognizes he's a bigger loser than she is, and won't pose a threat to her already battered self esteem. She succumbs to her fate as a self loathing loser and accepts his proposal of marriage a week after they meet.

In the beginning I was rooting/expecting for Abe to see he was his own worst enemy, and to reverse the course of his life. Unfortunately, the longer the film plays out the more I hated Abe and he losses his lovable loser status. He quickly slams into becoming an obnoxious, self indulgent, entitled loser, throwing tantrums and fits as he blames everyone around him for his faults and failures.

His world starts to implode and crumble as it becomes apparent to him that he is the loser everyone see's him as. This sets up a whole barrage of self induced fantasies he uses to try and explain why he's not a loser. Ultimately, it ends like a reverse "It's a Wonderful Life" and with the harsh realization that his life never mattered and everyone is better off without him.

I watched this film not only from the morbid entertainment value, but also from a weird psychological standpoint. I know a 30 year old man- child that works for his father and lives in his childhood bedroom. Somehow, this guy I know, like the character in the film, refuses to see himself for what he is and acts like an obnoxious, self indulgent, entitled loser that thinks he's cooler than he really is and blames everyone around him for his faults and failures. It offered me quiet a bit on insight to his world.