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You can skip movies 10 times but never go back.
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.
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.
Located fittingly between "The Evil Dead" films and the "Spider-man" series in Sam Raimi's canon, his marvelously entertaining "Darkman" is a horror-superhero mash-up that only Raimi could create. Full of character, thrills, and touches of gore, "Darkman" is a stylized action film that feels ripped from the pages of a comic book. It is compelling and delightfully overwrought, and it teems with engaging personality.
The story follows Liam Neeson's Dr. Peyton Westlake, a scientist developing artificial flesh who is assumed to be killed when his lab is ransacked members of a criminal syndicate. Stalking the shadows, Westlake becomes Darkman and, as Darkman, haunts and hunts down those who destroyed his life.
The narrative weaves together elements of crime films, revenge…
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 :))
i'm not sure why the world decided that mad science, goofy effects, heavy-handed metaphors, overacting, cartoonishly noir lighting, bouncing overbearing scores, weird special effects, and totally unrealistic everything weren't good enough for superhero movies anymore but we really fucked up bad. this is so much better than every other "but who's the REAL monster?" comic book movie that came after it, and it wasn't even based on a comic book. it's also Raimi's best movie and one of Neeson's best performances - the way he moves his body around is an incredible Universal Monster homage that probably nobody expected he could do. THE INVISIBLE MAN meets Adam West's Batman, what a feat to pull that off.
Raimi fundamentally understands the art of comic books and shoots his film in the same way a comics artist would panel their work. This is the biggest difference in what Raimi does, and the crop of Marvel/DC movies that have come out in the last few years. He isn't shooting a brand or a revisionist take on comics. He is diving right into what makes them work. Visually the frames from an alleyway in a kind of storyboarder's view, the intense close up, the sparse dialogue that appears while always keeping a characters face in frame is all in the dna of comic books. It's as if he crafted this movie in the same way he would as if he…
Thriving off of Raimi's unique vision, Darkman is a film that lacks subtlety entirely, but works in it's own campy and menacing way despite that. Darkman's tale of alienation and revenge carries along with it a soulful wit and visual flamboyance that puts to shame modern entries within the genre, full of gorish effects and haunting images. Raimi seems to delight in undercutting the traditional hero (or antihero) narrative arc with a profound sense of horror, grounded with a thoroughly developed tragedy that is Darkman's life. But most importantly, as Raimi later illustrated with the Spiderman trilogy, he has a fundamental understanding and appreciation of the art of comic books. Now Darkman was a character created for the screen, but this film very much feels like a seamless transition between the two mediums. It's energy is infectious, camp hilarious, and story effective. A film that is absolutely solid on all fronts.
The opening scene in Darkman treats us to Danny Elfman's wonderful work with the score for one of my favourite superhero flicks of all time. There is a lot of great work here from Sam Raimi, with more than a few nods to Hitchcock with some great montages, dissolves and fades. Sure this is Frankenstien meets the Unknown Solider meets Phantom of the Opera but Liam Neeson injects enough of his own grit into this to make this a unique and a really cool new dark hero story. The music shines throughout this film right into the end credits and is one of the best elements of this film.
After Neeson literally gets blown sky high by Larry Drake, aka…
I love the over-the-top Raimi-ness of it all. This is the kind of movie in which the villain has a grenade launcher with a scope on it.
"I'm everyone - and no one. Everywhere - nowhere. Call me... Darkman."
Three years before he was Oskar Schindler and more than a decade before he made the holy Spider-Man trilogy, Liam Neeson and Sam Raimi combine to make a dark, neo-noir tale of the man with multiple faces.
After the huge success of Burton's Batman, Raimi uses the popularity to make a new dark and brutal superhero film that works great. The story and the way Raimi films are so suburb. It's an amazing story and I love the way how he uses the masks to do everything. The effects are all amazing as well, and they have such a realistic feel to them. Some green screen looks…
This franchise needs to be revived..
A superhero flick that is very much riding on the success and inspiration from 1989's Batman film. Mix that with Sam Raimi's dark humour, his inventive visual styling and you got a fun, if somewhat dated feature. The visual effects have not aged well but the practical ones are still quite nice. Which proves that nothing holds up as well as the real stuff.
On oublie trop souvent à quel point ce film-là est bon.
Je me suis retenu pour pas y donner un 4.
Quand est-ce que Sam Raimi revient d'Oz?
Ça commence à faire longtemps.
At least Raimi was unable to secure the rights to make this into a Batman movie.
Die lange Besprechung hier: superherounit.de/superhero-unit-09-darkman-1990/
Sam Raimis erste Gehversuche im Superheldengenre überzeugen mit Originalität und Feingeist für das Genre. Sein Darkman ist aber weniger Superheld, als viel mehr tragische Monsterfigur, die somit die Außenseiterrolle jedes Helden in den Vordergrund stellt. Sehr stark, aber noch nicht auf Level, das er später mit Spider-Man erreichen wird!
Campiness at its finest. Like, really, you have disfigured Liam Neeson dressed in black trench coat exacting revenge on criminals while channeling his inner Nic Cage. Plus a dash of Batman. Even a Danny Elfman score!
I swear if you are not pressing play already...
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