Dark City
(1998)
review by Samara's Madness

A Funny thing happened to me the other day. I was sitting on the couch (as I often do) flipping through my “on demand” options on my cable box (as I often do) when what do I happen to catch note of but a strange title. “Dark City”; It had a strange, familiar ring to it, as though I saw it once upon a time in a distant memory but retained very little of the actual movie as my television set informed me was made in 98’, 100 minutes in length and starred Kiefer Sutherland and Jennifer Connelly which I didn’t remember at all. But, since I truly believe Jennifer Connelly can do no wrong I threw caution to the wind and began to watch it.

What met me was a fabulous feast for my eyes, ears, and mind.
Dark City stars Rufus Sewell as a man who wakes up in a bathtub with total amnesia. Frightened, he quickly dresses and heads into the living room where he receives a strange phone call from a Doctor Daniel Schreber (Sutherland) who tells him that there will be men looking for him, and he must flee the apartment. Before he can get away, however, he notices the dead body of a young woman with spirals cut into her skin. Panicked, he leaves the apartment and finds everyone asleep. Unfortunately before he can make a clean break he’s accosted by the apartment super who tells him he’s late on rent. In a brief flash of paper he catches a name, his own name; J. Murdock. With that, a deadly game of cat and mouse begins.

For fans of cult based nostalgia look no further than Dark City. It’s a wonderful, delicious goulash of style and story telling; an interesting and effective blend of sci-fi/fantasy and film noir with an ever so subtle H.R. Giger sentiment, especially in the case of the movies villains. You see, Dark City is run by a race of parasitic aliens who share one mind; they are dying and experimenting with human memory to find out what makes us unique; to discover the soul and eternal life. These creatures are embodied in the form of tall, gaunt, pale, bald white men (And aren’t all tall, gaunt, pale, bald white men parasites? Wait…) who possess a power called “tuning”; the telekinetic ability to make thing happen by will alone. John Murdock also possesses this ability and becomes Dark City’s only hope against them.

Performances are all around strong; Kiefer Sutherland, despite his asthmatic voice and caricature pulls off the weak willed but good intended (and arguably snakelike) Dr. Schreber with grace and applaud. William Hurt gets a chance to show his range a little as the inspector on Murdock’s tail. As the story progresses Frank Bumstead learns just as much as John Murdock and becomes equally desperate. I guess the worst problem in casting was Rufus Sewell and Jennifer Connelly. Sewell’s performance is simply weak. He hardly does any “acting” at all, and that DAMN LAZY EYE OF HIS! It just bothered me. On the other hand Jennifer Connelly is a prime example of talent wasted; there wasn’t really a lot in the role for her to begin with. It could have just as easily been any other Hollywood starlet. My favorite performance came from a specific “Stranger” (as the aliens are referred to in film) by the name of Mr. Hand. In the two times I watched the move I knew he looked familiar, as though I had seen him over, and over, and over again in some other film. Turns out I was right; Mr. Hand is none other than Richard O’Brien of Rocky Horror fame. Mr. Hand becomes the second inspector on Murdocks tale; and what a performance! Sly, unfeeling, dastardly, Mr. Hand truly made my viewing experience.

As far as looks and direction go I was satisfied with both. Many fifties era places, cars and fashions are utilized. It has a signature dark look to it and tells much of its story through light. Proyas uses dank greens, dull golds, and bright neon reflections to create a world that is simultaneously frightening and familiar; alien and dark. Even the set pieces for the stranger’s giant machines underneath the city are breath taking. Bathed in blue light and glass; it’s a clockwork hive that truly has to bee seen to be believed. Even the CGI for being six years old still stands on its own pretty well, save for Johns last battle with Mr. Book, which comes off a bit cheesy (but that’s not entirely the fault of the CG). Combine that with the smooth, almost Thi Chi feel of the cinematography and you have yourself a real treat for the eyes. And although this story is a mystery it ends up tying together really well. It never gives you too much at once, but you can be satisfied in knowing that by the time the credits roll all of your questions will be answered, and it never stoops to gimmicky twists. In a post “Ring” world where every movie tries to catch you off guard, I was happy to watch a movie tell a story and see it through to the end, sans the cliché twist ending. But then again the ring was just being seen in Japan by the time this one came out here, maybe screenplay integrity is a thing of past films.

I suppose all in all I would recommend Alex Proyas’ masturbatory opus (I just wanted the opportunity to say masturbatory opus, its fun, say it with me), it’s a worthwhile viewing experience and I doubt you’ll be disappointed. I mean, hell, I can’t even find anything wrong with it and normally I can nit pick any movie into nothingness. I only wish I had some DVD specs for you, there’s probably some very cool behind the scenes documentaries on there, but alas, my cable box has no extra features.

Chances are you can find Dark City in any Blockbuster and if you do, I really recommend picking it up. Oh, and pale, wan, bald children in black trench coats are scary… really scary.