Really plays up the loveable loser angle but it just falls flat. A few funny moments but a rather ordinary affair.

Possibly one of the worst movies I have ever seen.

Started off okay, but then got very uninteresting. The film lost me during the last 20 minutes. Basically some stuff happens and then he dies.

Wow... what a dark and profound morality tale. This is the final of all Todd Soldonz's films that I have watched (except his very first one) and this was definitely one of my favorites. I found myself really shocked by the writing and acting of the protagonist. It is like the director held a mirror to our current culture to show what we are like. Recommend!

Abe wasn’t a lovable loser, he was just a loser. He never gets on track, everything that could go wrong does and it’s then it’s over. The film is way to loose in the long drawn out dream sequences to be cohesive but it’s a watchable albeit flawed movie.

Whether you love them or hate them, there is never mistaking a Todd Solondz film for anything other than a Todd Solondz film. Offbeat characters that roam through life in a daze, bone dry humor with perfectly framed and blocked shots, his style is distinct and Dark Horse is no exception. Abe (Jordan Gelber) is a thirty-five-year-old man-child living at home with his parents (Mia Farrow, Christopher Walken). After one date with a morose woman (Selma Blair) he met at a wedding, he decides that the only appropriate course of action is a wedding proposal, which sets off a tragic chain of events. It's bleak and it's dire and, despite the fact that the last act seems overplayed, Solondz somehow makes you care about characters that you have no right caring about.

I pretty much always enjoy a Solondz movie. This had some funny, uncomfortable moments, of course, but it struck me less as a dark comedy and more as an unlikely almost tragedy with unreliable, fantasizing narrators.

The cringe worthy moments from the protagonists is wonderful but is very toned down for a Todd Solondz film. This can be a net positive for most, but those more in tune with his absurdist insanely dark humor will be left feeling a bit disappointed. The message of the movie night have to be literally told to you at the end, but nonetheless it's still a rather adept perspective on wasted opportunity.

Although often as depressing and raw in truth as a Solondz film goes, this one isn't often quite as interesting and is often confusing for no real reason. I think people who are offended easily will like this film better than Todd's other films.

Todd Solondz has a reputation of character studying depressing, nasty characters. But some characters, are just so nasty, is it even worth studying them to begin with. Dark Horse focuses on Abe. Abe is an utterly gross human being. Every time he was onscreen, I wanted to dry heave. He's sweaty looking and painfully obnoxious. Every person he comes in contact with, he just treats like garbage. Worst of all, he thanklessly lives with his parents, whom he really hates, because they would constantly favor his successful brother over him. Solondz wants us to sympathize with this character. Good luck, folks. There isn't a shred of likability in this character. He acts like a petty bitch from the get-go. His negativity effects everyone around him. He's certainly not the victim that Solondz wants us to believe he is. It's not like he was the victim of neglect or abuse of any sort. If a dark, sad past was established, then I would whole-heartedly sympathize with what we could all agree is a broken man. Abe isn't broken. He's intentionally a scumbag. On a narrative level, it really doesn't work. Nothing really moves forward from the basis of our main character lashing out at everyone close to him, just because he's a proud man-child. I'm was just annoyed by it all. Probably not as annoyed, however, as Toys R' Us, demanding that the film digitally blur out their name from the picture... So I guess there's that.

One of the few truly Surreal films I've seen from an American director. Fantastic. One of the best films of 2012.

This would probably be my third-favorite Todd Solondz film - after Happiness and Welcome to the Dollhouse, to be sure, but slightly ahead of Palindromes and miles ahead of Storytelling. It's perhaps a slightly friendlier and more restrained Solondz than we had seen before - still far beyond the pale of where most filmmakers would dare go, of course, but still slightly toned down compared to the utter bleakness and degeneracy portrayed earlier in his career. Jordan Gelber plays Abe, a 30-something manchild who has stopped developing psychologically or socially since he was 13 years old or so; he's a classic case of arrested development, overly sheltered by his milquetoast parents (Christopher Walken and Mia Farrow) and jealous of his much more successful brother (Justin Bartha). He meets a similarly damaged woman (Selma Blair) and very inappropriately proposes marriage; but she is so depressed that she actually accepts him. Things don't go well from there. As always, Solondz excels at portraying suburban neurosis and misery with poker-faced irony; it's always hard to tell whether Solondz has outright contempt for his miserable characters, or whether he's simply examining them like an anthropologist. This movie does feel slightly more openly sympathetic to Abe that it might have had it come earlier in Solondz's career. We do end up kind of caring about Abe, even though his total awfulness is plain to see. Selma Blair, a generally under-appreciated actress, gives a convincing performance as someone almost unspeakably depressed. Christopher Walken is hilarious, as always, though he does so this time by not trying to be. Mia Farrow's performance as Abe's mother is quite good at eliciting sympathy for a woman who has to deal with her screw-up of a son. The movie's dark, cynical humor won't appeal to a lot of people, but it's exactly the sort of thing I enjoy. My main criticism of the film would be that it detours into some strange choices in the last 15 minutes or so. While the ending certainly isn't predictable or boring, I'm not convinced it really fits with everything that's come before. Basically, if you're a Solondz fan, you'll like it; if you're not a Solondz fan (and statistically, you probably aren't), it might actually be a better place to start with his work than some of his earlier films are.

The scene where both sets of parents sit on the couch with their newly engaged children captures the awkwardness like only Solondz can. Selma Blair is phenomenal.

I wanted to like this film, premise set up lends to be successful. Perhaps Gelber's performance is too good as being an unlikeable loser, as I could not find any enjoyment in his offput character.

Misanthropic: YES. Well-Directed:YES. The story gets unnecessary twists and turns that make a fool of the viewer in the end. I can't give it more than 2 stars.

A few inscrutable moments aside (receipts for girlfriends), Dark Horse is a short story on celluloid, bound to get better with every passing year, if only for that brilliant final moment.

I honestly don't know why I liked this movie, it was kinda like a depressing Napoleon Dynamite set in New Jersey, but I did, I liked it.

The worst film in history

Ok, but not Solondz's best. The characters aren't very likeable/relatable (unless you are a thirty something man child/woman child living with your parents). I wanted to see more of these characters' shy, sad interior worlds. This film just doesn't have the catharsis of Happiness or the poignant "outsiderness" of Welcome to the Dollhouse.

A morality tale about the dangers of comparison and categorization, resentment, self-pity, and letting sibling rivalry get the better of you. It's a Solondz movie. You know how it ends.