Kiefer Sutherland, in a hyperkinetic turn as a duplicitous doctor employed by the Strangers, suggests a punked-out Vincent Price. It hardly matters, because the love story has no weight. John also has a wife namedĮmma (Jennifer Connelly) who may or may not be an idea planted in his head. The plot that "Dark City" builds on John's predicament is a confused affair involving childhood memories of an idyllic seaside upbringing in a place called Shell Beach that may or may not exist. Possesses the Strangers' telekinetic powers. He doesn't realize it at first, but he now No sooner has he regained consciousness than he finds himself being investigated for a murder he does not recall committing.
John Murdoch (Rufus Sewell), is one such premature riser. But every once in a while, a mistake is made, and a subject wakes up in the middle of an experiment. When the residents awake with new memories and fresh personalities, many won't even remember their names. In the movie's most visually striking sequences, buildings shift, and the entire metropolis heaves into a different configuration. Stop, they rearrange the city's architecture. The Strangers also have the telekinetic ability to move objects, and during these blackouts in which time appears to It is all a search for (get this!) the human soul. Through the forehead that mix and match people's memories. While unconscious, they become subjects in an elaborate experiment involving injections Among their powers is an ability to put all the residents to sleep at the same time. The invaders operate from secret catacombs in the heart of the city. Grimness of a bloodthirsty lord high executioner.
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This BritishĪctor, who brought such blood-chilling hauteur to the role of Francis Urquhart, a Machiavellian British prime minister, in the satirical BBC series "House of Cards," outdoes himself here in sang-froid, effusing the imperial Their leader is a sinister proto-fascist wraith with priestly airs named Book, who is played with a wonderfully icy relish by Ian Richardson. Threatened with extinction, these invaders have determined to colonize the Earth. Voyeuristic obsession with human feeling recalls the sexual obsession experienced by those hyper-mental veiny-browed coneheads who fed off human fantasies in the pilot episode of "Star Trek." Here the residents have unknowingly become the scientific playthings of a race of gray-faced fascistic aliens, the Strangers, whose Is a stylized, claustrophobic, fantasy of Depression-era New York City existing in perpetual night. The movie's premise - that what we call reality might simply be a fantasy imposed by an omniscient mad scientist - is unsettling enough to make you wonder if it could actually derail a seriously drug-addled mind. Trick, a gleefully improvised demonic fantasy of ominous evil genies conjured out of bottles and stirred into a steamy swirl that brings in everything from Franz Kafka to Vincent Price, from Fritz Lang to "Star Trek."
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At its best, the movie feels like a magician's The elements of that ride suggest that Proyas, who masterminded the popular teen-age mind-blower "The Crow," is a walking encyclopedia of weird science-fiction and horror imagery. Offers many unsettling surprises right up to a sentimental sunburst of an ending that has a paranoid undertone.
Although its story doesn't add up when you analyze it afterward, the movie does take you on a visually arresting ride that Lex Proyas's noisy psychedelic movie nightmare, "Dark City," is so relentlessly trippy in a fun-house sort of way that it could very easily inspire aĭaredevil cult of moviegoers who go back again and again to experience its mind-bending twists and turns.
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