Great production design and a tale in the best Twilight Zone tradition.

Rating: Null/10 (20 February 1999)

DARK CITY DARK CITY could have qualified for a science fiction classic nomination if it weren't for its need to continually explain itself. In this way, DARK CITY stands apart from films like the original INVASION OF THE BODY SNATCHERS or 2001: A SPACE ODYSSEY. Unlike these venerable sci-fi classics, DARK CITY is a mystery and, sooner or later, like most mysteries, there needs to be an explanation. The difficulty is that here it comes sooner, and frequently. But aside from this, and an overzealous use of explosive effects at the film's climactic duel, DARK CITY is interesting and entertaining.
The story is fascinating and ironic in the best `Twilight Zone' tradition; and it has the makings for honest sequelae. DARK CITY also manages to be complex and gorgeous to look at -- and (along with The Fifth Element) the best production design since BATMAN and DICK TRACY, darker still than the former, and more inventive than the latter. Costumes and makeup are first class, completely in harmony with this eerie other world: a city without daylight, where no one can quite remember their past.
The startling and elaborate physical transformations of the city itself, which recur like clockwork, are surreal rather than believable; but then nothing about this story is meant to be realistic. These transformations are so well choreographed and orchestrated that the drama of the moment holds sway. Speaking of which, Trevor Jones' music is appropriate and derivative, occasionally reminiscent of Stravinsky's `Rite of Spring.'
In an unreal atmosphere, one doesn't think about the performances in the same way as modern earthbound film noir such as L.A. CONFIDENTIAL. In DARK CITY, the actors are chosen for the way their personae relate to our primal dreams and fears. Thus Kiefer Sutherland is the mad Dr. Schreber (and our narrator); William Hurt, the listless Inspector Bumstead; Rufus Sewell is the gaunt, handsome anti-hero, John Murdoch; Jennifer Connelly is his instantly desirable wife, sort of; Ian Richardson is Mr. Book, leader of the alien opposition; and Richard O'Brien is his evil henchman. [Remember O'Brien as ROCKY HORROR's Riff Raff? Well, he hasn't changed.] In other words, everyone looks, and is, the part from the inside out.
Another narrated story, yes; but this time there is a point to having Dr. Shreber tell the tale since, it turns out, he is in possession of the key to the mystery, and what he chooses to do with this knowledge is part of the suspense. For obvious reasons then, I shall say little else about the plot.

There is one caveat which may or may not signal a fault, depending on your expectation: On a few occasions, the question of `humanity' arises. The aliens are after our secrets. My issue is not with their methodology, but with the fact that nothing about the story suggests what they might be after. The theme of what makes our humanity unique is at the heart of STAR TREK, for example; and when it comes up, there is always some instance that shows ourselves off: our contrariness, or our allegiance to loyalty above reason. But there is no analogous statement of our humanity in DARK CITY, as it turns out, for good reason. One is compelled to investigate the question within the paradoxes of the story, and how you come out will say a lot about how you feel about the film.
One more thought about DARK CITY: While the mystery aspect of the plot is complicated, neither the issues, nor the characters are complex. As it turns out, this movie, unlike say, BATMAN, isn't about anything, even though it purports to be (viz. the uniqueness of humanity). It is, however, a fun ride, and rarely, if ever, insults our intelligence; and the final truth is shown wordlessly, and it IS effective.