Photo courtesy of 20th century fox Donnie, his girlfriend and his pal Frank catch a flick in the recently released director's cut of "Donnie Darko," now playing at the Loft.

"Donnie Darko" is a rare moviegoing experience. Anyone who has seen it knows that it is nearly impossible to describe. It is one of only a handful of films that causes the audience to embrace the confusion they feel after it is over. The audience wants to leave its questions unanswered. The mystery is what makes the film great.

Donnie Darko, played by Jake Gyllenhaal, is a troubled teen living in suburban America. One night Donnie is visited by a six-foot rabbit named Frank who leads him out of his house and tells him the world is ending soon. He returns home the next morning to learn that part of a jet engine had fallen on his house during the night, into his room. For the remainder of the movie, we follow Donnie on his quest to figure out the reasons his life was spared and how he can change things with Frank's guidance.

The newly re-released director's cut gives more clues as to the meaning of the movie. We are able to see what director Richard Kelly intended by adding certain elements and actions to Donnie's odyssey. But does it unintentionally invalidate everyone's individual interpretations of the first version?

The answer to this question depends entirely on you. Where do you place Kelly's decision to make a director's cut on the lifeline spectrum? Do you place it under "fear" in the negative energy spectrum, or do you place it under "love" in the positive energy spectrum?

I believe that Kelly's move towards clarity falls under "love." The cinematography is more impressive, as is the character development. Donnie's father, Roberta Sparrow, Dr. Thurman, Ms. Pomeroy and even Frank become rounder and deeper characters through the added footage. The audience becomes more emotionally involved with these characters as their actions aid or change Donnie during his journey.

Gyllenhaal's performance remains quite striking. The way he is able to express the thought processes of a young man flirting with love and fighting a losing battle with himself and his destiny is both impressive and reminiscent of Anthony Perkins' performance in "Psycho." Subtlety makes all the difference.

The only major change that upset me was the displacement of the Echo and the Bunneymen song "The Killing Moon." When Donnie rides his bike home from the side of the mountain at the very beginning of the film, the Echo song has been replaced by INXS' "Never Tear Us Apart." I always thought the song fit perfectly. Plus, there was an element of irony, because it was performed by the "Bunneymen."

It is also worth noting that a lot of the added footage is on the DVD of the first version. Kelly anticipated people's confusion and gave the answers in the form of deleted scenes. Seeing it as a whole film, however, is a much more satisfying experience.

Richard Kelly was brave for putting out a director's cut. I recommend seeing it, if for no other reason than to remind you how beautiful the world can be.