Complete list of the films Guillermo del Toro has recommended on twitter. Click the 'Read notes' button to see his…
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.
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.
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 :))
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…
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…
Wanna know what the best Liam Neeson moment ever is?
"Take the fucking elephant."
Darkman could've been great, and particularly with how fond people are of it after thirty six years, the idea of a superhero film before they were really popular by Sam Raimi sounds exceptionally interesting. This is particularly the case with two factors. One, it doesn't hurt to cast a young Liam Neeson and Frances McDormand in the leads, and secondly the visible linage to pulp storytelling and horror cinema is obvious. Part Phantom of the Opera, another part the attempt to adapt the Shadow which Raimi originally wanted to do but wasn't able to, the idea of an anti-hero who uses disguises to manipulate criminals rather than physical might has so much potential alongside the fact that Raimi emphasises the…
What, Chris Nolan, couldn't come up with your own ending to The Dark Knight?
Terrific pacing, inventive action and lots of random craziness. An underrated gem that's better than any superhero movie out today.
Everything in Darkman feels prescient. It has Liam Neeson as an action lead decades before Taken and its a super-hero story about a decade before the genre dominated the box-office.The perfect bridge film between the two phases of Sam Raimi's career. Darkman is blessed without the laborious need to be a prestige style superhero picture (as the genre was not especially reputable in the 90's) so there are boatloads of Raimi signatures throughout the film. The conceit, making a superhero out of what basically amounts to a Universal style monster character, is unabashedly fun.
A kind of campy homage to old-school sci-fi flicks, this movie is full of odd close-ups and camera moves, bad acting, holey logic and (I think) purposefully lame special effects. Maybe you can say the same about "The Evil Dead," but that felt new and shoestring. This feels produced.
Didn't make me laugh, not a fan of the action or character. Not my thing.
Oh mein Gott, werde unsere Kinder in 25 Jahren einen Marvel Film gucken und sich dann auch denken: WAS WAR DEN DENN DAS??? LIAM NEESON WIESO???
I didn't think Darkman was as great as many people seem to, but I did have a lot of fun with it. Darkman delivers a unique story in classic Raimi cheeseball style, but the plot just didn't keep me as interested as I would've liked at times. Can we all just agree on how much we want to see a Raimi Batman movie though?
This review may contain spoilers. I can handle the truth.
Early-ish roles for Frances McDormand and Liam Neeson. I tried for much of the movie to figure out if it wasn't grabbing my attention just because the CGI we now take for granted in action films didn't exist at the time, but in the end I think it is because aspects of plot and dialogue didn't really hang together. Some of the thuggery and chase scenes feel lifted from car chase films of two decades prior. Definitely had its moments and I can understand the cult appeal.
Movies that are slightly off.