Noir-vember: Dark City (1998)

A man wakes up. He's confused. He has no memory of how he got wherever he is. And there's the corpse of a woman uncomfortably close to him. The man immediately goes on the run, trying to piece things together while a cop pursues him, as well as some individuals who seem much further removed from the law. It's a standard noir set-up, all very familiar, until we start to see the sci-fi elements also incorporated here. A group of people with the power to change the environment, to uproot individuals from their lives and place them elsewhere, with all new memories implanted.

Surprisingly influential (The Matrix and Inception being the most obvious examples that spring to mind), and as intriguing to watch now as it was back when it was first released in 1998, Dark City is a thought-provoking piece of work that also never forgets to keep audiences entertained. It's a genre mash-up that could easily be fumbled, playing with some of the classic tropes before a major shift in tone as the sci-fi aspect of the plot becomes clearer, but director Alex Proyas does a great job of keeping the various plates spinning.

The cast are a big help, with Rufus Sewell used well in the lead role, all anxiety, panic, and confusion for most of the runtime. William Hurt is the Inspector pursuing him, and he's a man capable of taking a step back and trying to see some bigger picture that is somehow evading him. Kiefer Sutherland is amusing enough as a devious doc, Richard O'Brien is as spooky as he often can be, playing one of the other individuals chasing Sewell, and you also have solid turns from Ian Richardson, Bruce Spence, and one or two others. Melissa George and Jennifer Connelly are the two main female cast members. George, making her cinematic feature debut, somehow makes the stronger impression, despite having the "lesser" character, but I'll never pass up any opportunity to enjoy Connelly onscreen, even when she's left slightly adrift by the script.

Based on the story idea by Proyas, the screenplay is credited to him, Lem Dobbs, and David S. Goyer. It's not exactly full of the best dialogue, and seems almost too wary at times of making things as hard-boiled as they could be, but it works very well when bringing together the characters and the ideas at the heart of the plot, providing answers during the finale that can also lead to some more questions in a way that should satisfy sci-fi fans.

There are some moments that feel restricted by the tech of the time, but not nearly as many as you would think. Overall, it's easy to believe that you're watching a film about a city being manipulated and experimented upon by powerful strangers who can alter buildings, fixtures, and entire cityscapes, in minutes. The design work throughout is excellent, as are the practical effects, and all of the visuals are accompanied by a fine score from Trevor Jones.

Although I don't dislike the more recent films from Proyas as much as other people (having not yet seen Gods Of Egypt, but I really liked Knowing), it's always a pleasant surprise that he began his feature film career with the one-two combo of The Crow and this. Both of which have stood the test of time better than, for example, the slick blockbuster entertainment of I, Robot.

8/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing, and ALL of the links you need are here - https://linktr.ee/raidersofthepodcast
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share

The Crow (1994)

Forever enshrouded in an air of macabre, due to the death of star Brandon Lee during the filming of the movie and the whole premise, The Crow was a great success when first released, and has since maintained a loyal following over the past two decades. Some of that success, undoubtedly, stems from people who became curious about the movie after hearing of the fatal on-set accident, but I like to think that some, if not most, of it stems from the fact that it's a great movie, boosted by a charismatic lead turn from Lee, working at his very best.

Eric Draven (Lee) is a musician and a man very much in love with his fiance, Shelly (Sofia Shinas). Well, he WAS. You see, a bunch of thugs broke into their apartment, raped and assaulted Shelly and threw Eric out of a window. Eric died, while Shelly battled with pain for 30 hours before finally succumbing. A police officer (Ernie Hudson) stayed with her, in the hope of getting a statement that would help him catch the criminals, but nothing could be done. One year later, Eric is brought back from the dead. He crawls out of his grave, watched by a crow, and staggers around while he figures out just why he is back. It soon becomes clear what he has been brought back for. Revenge.

Based on a comic by James O. Barr, The Crow has a solid screenplay, by David J. Schow and John Shirley, and is directed brilliantly by Alex Proyas. From beginning to end, this is a treat for the eyes. Some (okay, quite a few) of the special effects have already dated a bit, but whether it's a view of events through the eyes of the crow or a shot showing Brandon Lee athletically swinging around on a window frame, every scene has at least one or two gorgeous moments. The ears are also well looked after, with a soundtrack that features a great score by Graeme Revell weaving in between tracks by The Cure, Stone Temple Pilots, Rage Against The Machine and many more.

Michael Wincott is a villain, accompanied by the likes of Tony Todd, David Patrick Kelly, Angel David, Laurence Mason, Michael Massee and Bai Ling. Wincott rules every scene that he is in, as you might expect, but the pleasant surprise is just how each villain gets just enough time to show their defining characteristics before death comes calling for them. Jon Polito also gets a few good moments, playing a cowardly pawnbroker profiting off the misery of others. Anna Levine is good as the drug-addicted mother of the young girl (Rochelle Davis) who soon puts two and two together to work out the identity of the avenger with the painted face. Hudson is warm and likable and brilliant in his role, and then there's Lee, who gives a performance that I like to think would have taken his career up to another level, had his life not been cut short by that terrible accident. But that's something that we'll never know.

What I do know is that The Crow has aged pretty well. Detractors can pick apart some of the FX work and the excessive rock video style of a number of moments, but there are plenty of set-pieces and electric scenes that more than make up for any failings. Fans will enjoy revisiting this one, and anyone who has yet to see it should do so whenever they get the chance.

8/10

http://www.amazon.co.uk/Crow-Collectors-Edition-Blu-ray-Brandon/dp/B000IMVMFM/ref=sr_1_2?ie=UTF8&qid=1391374402&sr=8-2&keywords=the+crow