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…
I'm everyone - and no one. Everywhere - nowhere. Call me... Darkman.
My review -- this film is now on DVD and yes it does have a profit margin of roughly $32 million. The plot of this project is as follows, the viewer meets the scientist by the name of Peyton Westlake as he is working on this scientific experimentation on how to reconstruct body parts that need some form of skin like hands or noses or anything that needs skin tissue basically, but he is blissfully unaware of what trouble lies ahead of him, that is until one night some gangsters come looking for a valuable piece of information and leave our scientist deeply physically and emotionally scar for the rest of his life, This film project as an 18 certificate…
L'estetica fumettosa può aiutare Darkman fino a un certo punto. La regia funziona, ma la sceneggiatura è di quelle che forza qualsiasi cosa.
La recordaba mejor :(
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.
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