By Eric Anderson
Arizona Daily Wildcat
March 2, 1998

Soul Searching

Australian director Alex Proyas appears to have found his niche among the over-populated society known as "Hollywood." Proyas' latest release, "Dark City," follows along the same lines as his first American film, "The Crow" - a very dark, nondescript, otherworldly urban environment is introduced, where a main character of questionable moral intent is struggling to reclaim his destiny.

"Dark City" opens with a man, played by Rufus Sewell ("Cold Comfort Farm"), waking up in a bathtub. The water has a brownish tint to it, the tile floor and walls are unfamiliar; he doesn't know where he is or how he got there. He can't even remember his own name. As he removes himself from the tub and makes his way out of the bathroom, he realizes he is in a hotel room, but still can't figure out where or why. Matters only get worse when he discovers the body of a woman at the foot of his bed.

Learning his name, John Murdoch, when he passes by the hotel register on his way out, he begins to aimlessly walk the streets trying to figure out what is going on. Meanwhile, Inspector Bumstead (William Hurt) is sent to the newfound crime scene and ends up on Murdoch's tail.

From here, the movie takes off into one of those "you've got the wrong man" mysteries.

Bits and pieces of Murdoch's forgotten past start to pop up, even though he still can't remember everything. His estranged wife, Emma (Jennifer Connelly) appears; he is reunited with his uncle Karl (John Bluthal), followed by the appearance of his mysterious and unusual psychologist, Dr. Schreber, played by Keifer Sutherland. As things continue to unravel, Murdoch realizes that he isn't the only one having problems with his memory.

Like "The Crow," the nightmarish urban environment of "Dark City" establishes the tone needed for the 100 minutes of film. The remarkably creative set design, along with the excellent special effects and camera work add a significant amount to Proyas' already brilliant, highly complex story line (although believability is stretched to its limits in parts). Unfortunately for the director, with the exception of Hurt, none of the actors are able to sell their scenes as necessary.

Although Hurt gives a solid and believable performance, Sewell is consistently mediocre, at best, throughout the entire movie. As a character that requires some sympathy, Connelly is more annoying than sympathetic, and Sutherland's creepy character has some sort of speech impediment that makes him sound like he's running out of breath after every word - apparently it's supposed to add to his creepiness, but it only gets real old, real fast.

Although Proyas' story line is one that allows for a lot of creativity, with all of the twists and turns in this cerebral, sci-fi thriller, it does at times go a bit too far, and unfortunately the human mind cannot follow - at least mine couldn't. Proyas does a good job of explaining and justifying everything that happens along the way - until the end, that is. It's too bad that Proyas leaves a little too much to be accepted and believed at the end of an otherwise unbelievable-made-believable plot.

However, for those fortunate few who are able to set aside every conventional thought at the door of the theater, "Dark City" is one of those movies that will still have you thinking, "What if?" days after you see it.