For five years, film critic Scott Tobias compiled "The New Cult Canon" in a regular column for The A.V. Club…
They destroyed everything he had, everything he was. Now, crime has a new enemy and justice has a new face.
Dr. Peyton Westlake is on the verge of realizing a major breakthrough in synthetic skin when his laboratory is destroyed by gangsters. Having been burned beyond recognition and forever altered by an experimental medical procedure, Westlake becomes known as Darkman, assuming alternate identities in his quest for revenge and a new life with a former love.
In the era of Batman '89, Darkman surely puts it to shame in just about every category: effects, tone, pacing, humor, gags, origins, ingenuity, music, color, sets, even most of the cast fits together and has chemistry. Holds up marvelously.
Blu-ray looks very pretty indeed :))
It's times like these that the 5 star rating system just isn't good enough. Definitely a 4.25/5
The movie that always gets forgotten when people put together lists of the best superhero movies of all time -- probably because the character is invented for the screen, rather than adapted to it. And, maybe because its "hero" is a self-described "monster" with a gruesome face. But this really is Raimi's first stab at the genre, and a very successful one.
Plus, it's eerily like a TAKEN movie when you watch it now: Liam Neeson's life gets wrecked and he swears revenge using (in this case literally) superhuman fighting skills.
It also includes the phrases "The Rangeveritz Technique" and "The Bellasarious Memorandum." I love DARKMAN.
Wanna know what the best Liam Neeson moment ever is?
"Take the fucking elephant."
"I'm everyone and no one. Everywhere, nowhere. Call me... Darkman."
Sam Raimi couldn't secure the right for either The Shadow or Batman, so what he did? He created Darkman.
A good balance of suspense, campy fun and comic book action, even the way it was shoot reminds me of Saturday morning cartoons. Raimi has a peculiar sense of humor and it shows from the pink elephant scene to the dance number, Darkman is a joy to watch.
To see a young Liam Neeson and Frances McDormand was a pleasure, specially Neeson, one of many things I like about'em is his 100% investment in every character he plays, doesn't matter…
When Sam Raimi couldn't acquire the rights to adapt Batman, he went on to create his own superhero tale. Hell, he even hired the legendary Danny Elfman to produce an awesome score for the film. It's remarkable how closely the film's plot mirrors that of any comic origin film, despite not being based on any existing hero. However, it's the Raimi touch that truly makes the movie memorable as it is. With Academy Award nominee Liam Neeson & winner Frances McDormand in the starring roles, it's not surprising that they make the film work as well. Neeson plays the titular killer comic book hero that looks like a cross between the Phantom of the Opera & Freddy Krueger, who isn't fighting crime…
It could've been better. Thanks to Coen brothers for its 5 minutes grittiness. It has Batman feels, imo.
Sam Raimi's first super hero film actually holds up much better than it should. The effects heavy hero is played by a young Liam Neeson, who feels awkwardly mis-cast, though does a passable job in the role. The parts that really stick out are some strong cinematography from Bill Pope (who went on to lens both of Raimi's Spider-Man sequels), and a rousing score from Danny Elfman.
There isn't much here for non-fans of comic-book fare, but for fans, and interested parties, this is a decent enough ride.
Grandiose melodrama sees synthetic skin researcher Neeson left for dead after an explosion by a gang of thugs. He then comes back seeking revenge as a Phantom of the Opera type character who is able to assume different identities via his synthetic skin invention. Raimi's hyper-stylized take on this story is rollicking good fun, even when the script falters due to clunky dialogue, and some of the poorer performance cause some level of wincing. Bill Pope's dynamic cinematography and kinetic editing propels the action along, and Danny Elfman's highly theatrical score provides over-the-top pathos. Kudos to Larry Drake's cult performance as the baddie.
Sam Raimi wrote and directed the movie which in my opinion does a good job of portraying a comic book style character that never actually was a comic book character until after the movie was made. Fairly dated now but for 1990 this must have been a great popcorn movie and was still quite enjoyable and was also quite dark in comparison to other hero movies of the time.
Performances from a young Liam Neeson and Frances McDormand (From Fargo) as well as director Sam Raimi's brother Ted.
Downright goofy revenge movie with comic book sensibilities. When Sam Raimi actually did get an official comic book hero movie to direct he toned down certain aspects of his filmmaking. But those over-the-top, joyously b-movie traits are present in Darkman. Extreme close-ups, ridiculous facial expressions, a hero that talks to himself and borders on insanity. It isn't as memorable as Evil Dead 2, and it's effects look somewhat dated now, but it is one of the more fun superhero movies. There is angst here, but it's borderline crazy angst. Spiderman 3, Raimi's last comic book movie is killed by angst and self-reflection. It may look great but it is dead weight. Darkman, much to its credit is no Spiderman 3.
All of Sam Raimi's best films rely on both him and his audience buying into a fairly wobbly premise and giving themselves to it 110%, and Darkman is a perfect example of this. All of the cast ham it up brilliantly, but special mention should go to Liam Neeson for going above and beyond with his mentally unhinged antihero.
"TAKE THE FUCKING ELEPHANT!"
Es Darkman el descenso a la locura de un hombre paralelo al descenso a la ridiculez de la película, pero por gracia del encanto toon (a lo Tex Avery) con el que Raimi dota al film (que posteriormente sería su mejor carta de presentación para conseguir la dirección de Spider-man) la película es un festival de diversión pop, acción imaginativa y humor. Desde el minuto 0, Raimi se muestra como un especialista en caramelos visuales que no tiene tiempo para matices ni para subtexto, al igual que la banda sonora de Danny Elfman similar a sus trabajos para Tim Burton, pero se apega de lujo a un guión más redondo que lo que acostumbra el sub-género "Supers" (1/2 no tener…
Unfortunately, the film doesn't have a soggy piece of bread over it's poster. I love that poster. Nice credits sequence though. It's just not as cool as it needs to be.
It's refreshing to watch an original superhero origin film (even if it was made at the beginning of the 90's) that doesn't feel bogged down by it's own history and trying to appeal to a specific target audience. That isn't to say that this effort from Sam Raimi is objectively better than what we get fed to us today but there is certainly an air of freedom surrounding it, of a natural evolution of character rather than the bland, predictable schlock that most origin films serve up these days. Raimi obviously has a pretty distinct visual flair and he makes good use of it throughout the film, creating an overt comic book aesthetic and moving away from reality more and…
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