Posted 15 years ago: There’s no such thing as a very good or great movie that brings people down, regardless of subject matter. ‘Sad’ or ‘solemnly moving’ is not the same thing as “depressing.” There’s nothing lower in the movie-watching universe than the kind of person who sits through Au Hasard Balthazar and comes out saying ‘whoa, bummer…the donkey died.’

The only truly depressing movie experience is when you’re watching something gross, tacky, incompetent or ineffective.

Life can be hard, cruel, oppressive, boring…but it’s all we’ve got to hold onto and it’s better than being dead.

Movies that relay or reflect basic truths will never be depressing, but those that tell lies of omission by way of fanciful bullshit always poison the air.

Sadness in good movies is not depressing — it’s just a way of re-experiencing honest hurt. Ordinary People is sad, but if you think it’s depressing as in ‘lemme outta here’ there’s something wrong with you.

I’ll give you depressing: living a rich full life (children, compassion, wealth, adventure) and then dying at a ripe old age and coming back (i.e., reincarnated) as a chicken at a Colonel Sanders chicken ranch.

My beef is with movies that impart a distinct feeling of insanity by way of delirium or delusion, or a bizarre obsession. Frank Darabont’s The Green Mile (turn on the current! smell that burning flesh! cuddle that cute mouse!) and The Majestic (rancid small-town “folksiness”) are two such films. Ditto Steven Spielberg’s Always.

Martin Scorsese’s Kundun isn’t a downer. It’s worse than that — it’s paralyzing. And yet Scorsese made one of the greatest spiritual-high movies ever with The Last Temptation of Christ.

On the other hand, Marty sent thousands upon thousands of moviegoers into states of numbing depression when Sharon Stone gave Joe Pesci a blowjob in Casino.

Leaving Las Vegas, Mike Figgis’ film about a lush who’s decides to drink himself to death and doesn’t quit until he succeeds, has never been and never will be depressing. If you’re engaged to someone who thinks it is, tell him or her it’s over — you’ll be divorcing them eventually, so you might as well cut to the chase.

And yet the watching of John Huston’s Under the Volcano, about a somewhat older guy (Albert Finney) doing more or less the same thing, is akin to accidentally overdosing on generic cold medication and having to tough it out until the effects wear off.

In her review of Peter Brooks’ King Lear (’71), a profoundly dreary black-and-white thing with Paul Scofield in the title role, Pauline Kael wrote, “I didn’t dislike this film — I hated it.” I was so intrigued by this review that I eventually saw Brooks’ film, and I knew Kael wasn’t talking about what Brooks had done as much as the way his film made her feel deep down.

The Godfather, Part II is a fairly gloomy film but it doesn’t lie. It says that the ties that used to bind families and community together in the old days (the `40s and `50s) have been unravelling for some time. As Al Pacino’s Michael Corleone says to his mother in the second act, ‘Things are changing.’

The Matrix Revolutions is a profoundly depressing film, especially when all those hundreds of thousands of sentinels start swarming into Zion like wasps. Absolutely relentless and thundering empty-drinking-glass bullshit.

Sitting through Ron Howard’s Backdraft is like injecting an experimental psychotic drug concocted by Dr. Noah Praetorious (the frizzy-haired scientist in The Bride of Frankenstein) straight into your veins.

Most of the movies directed by Sean Penn are pretty damn depressing, but even in this context The Crossing Guard delivers an exceptionally bleak vibe.

Kevin Bacon’s Loverboy, a well-made drama about an obsessive woman who never lets go of her insanity and is finally destroyed by it, is like being locked in a room with this character, and feels like a Bedlam-type thing.

People who think animal-death movies like Old Yeller, Bambi and The Yearling are depressing are, in the words of Claude Rains’ Captain Renault, “rank sentimentalists.”

The idea that someone saw the spirit of Ernest Hemingway in Chris O’Donnell, and cast him in In Love and War…that’s really bad.