Director: Alex Proyas
Screenwriter: Alex Proyas, Lem Dobbs, David S. Goyer
Starring: Rufus Sewell, William Hurt, Kiefer Sutherland, Jennifer Connolly, Richard O’Brien, Ian Richardson, Bruce Spence, Colin Friels, John Bluthal, Mitchell Butel, Mellisa George
Year: 1998
Country: United States and Australia
BBFC Certificate: 15
Running Time: 100 min
In the mid-to-late 1990s, cinema had a sci-fi resurgence with big hitters like The Matrix (1999), Event Horizon (1997), The Fifth Element (1997) and Twelve Monkeys (1995). Other recognisable names from the decade include David Cronenberg’s Existenz (1999), Cube (1997) and Gattaca (1997), amongst others.
One of the standouts of the decade, for many reasons, is the brilliant though not without its flaws Dark City; a sci-fi noir from visionary director and writer Alex Proyas, who had earlier brought us The Crow (1994) and would later direct I, Robot (2004).
Dark City follows John Murdoch (Rufus Sewell) who awakens in a hotel bathtub with no memory, and discovers a dead woman, who seems to have been ritualistically murdered, in the room. The phone rings whilst he’s in the room and he’s warned by the caller, a Dr Daniel Paul Schreber (Kiefer Sutherland, playing a character who shares a name with a real-life person famous for sharing his personal account of his experiences with schizophrenia), to immediately leave the room as a group of men are after him.
Meanwhile, Police Inspector Frank Bumstead (William Hurt) identifies Murdoch as a suspect in the murders of sex workers and tries to track him down. In the meantime, Murdoch is trying to figure out who he is and what happened in the room, whilst he also discovers he has special powers that allow him to alter reality.
We quickly learn that the city, which is the backdrop for the murder mystery, is very odd indeed. It’s always nighttime, though no-one seems to really notice or be bothered by this, people fall asleep when the clock strikes midnight, and the men who are after Murdoch, pale-faced, wearing trench coats and known as Strangers, can also alter reality in the same way our lead can.
That’s just a flavour of the plot, characters and world they inhabit, and I’d recommend going in knowing little else, if you’ve not seen the film before and your interest is piqued. And if you are embarking on a first-time watch of Dark City, I’d recommend making sure you stick with it past the clunky pre-credits opening. The reason the pre-credits sequence doesn’t really work in the theatrical cut is because it contains a studio-enforced narration that spoils the mystery, though it does end with a humdinger of a hook as characters in the world mysteriously fall fast asleep at the same time. The director’s cut thankfully loses the narration, but bizarrely also removes the hook of the world’s characters falling asleep, leaving a really odd pre-credits sequence. Things improve as soon as that narration ends.
What’s immediately apparent with the film is its look and feel. The world looks amazing thanks to wonderful cinematography, green- and yellow-hued lighting, and excellent production and costume design, which take a lot of influence from the expressionistic cinema of the silent era of German cinema. You don’t have to look far too far to see the inspiration of the likes of masterpieces like Fritz Lang’s Metropolis (the city) and M, F.W. Murnau’s Nosferatu (the make-up and costumes of the Strangers), and Robert Wiene’s The Cabinet of Dr Caligari (some of the camera angles).
The sets are outstanding: from the Strangers’ lair, with a large head that opens to reveal a clock, to the streets, apartments and police station. It’s a pleasure to try to identify all of the constants of film noir (in the characters, locations, use of rain and more) in this beautiful world. It’s also a joy to try to find all the spirals and circles that are mentioned or glimpsed throughout and are a recurring metaphor.
It’s a breathtaking world that wrongly led to some critics to decry the movie as all style and no substance. Yes, it’s an unarguably stylish film that has a specific look that feels timeless, probably due to those influences, yet is unique at the same time. But this is supplemented by plenty of substance, perhaps too much at times, not least an exploration of what it means to be human, and who we are and our place in the world. There’s a lot going on under the hood with plenty of themes of control, schizophrenia and a central noir-inspired mystery that takes its time to unravel and is genuinely satisfying when the pieces come together. Some of the themes and plot elements are left hanging, though, and whilst I admire the ending and direction the plot took, there are a few too many threads that I wanted tied up.
That and the pre-credits sequence, the hook of the theatrical cut aside, are what hold the film back from perfection to me, but there’s so much to enjoy, not least that substance: the ambition of every aspect of the film is undeniable and this is thought-provoking sci-fi, the type of film you can watch again and again, and discuss endlessly, finding something new to unpick and savour.
The reality altering abilities lead to some inventive sequences, as the lives of the characters who make up the world are changed, the rich getting richer and others finding different ways to struggle on with their lives. There are also frequent snapshots of Murdoch’s past, which drop breadcrumbs at what came before that moment when he awoke in a bathtub at the start of the film.
Sewell plays Murdoch well; paranoid, anxious, perplexed and also dashing. Jennifer Connolly gives another of her strong performances as Murdoch’s wife, and two of the main Strangers are wonderfully portrayed by the late great Ian Richardson and The Rocky Horror Show creator Richard O’Brien. There’s a nice but small role for Melissa George, post Home and Away and pre her late 2000s movie rise, which includes a memorable role in David Lynch’s masterpiece Mulholland Drive.
No review of Dark City would be complete without mentioning Kiefer Sutherland, who gives a gloriously over-the-top performance as Dr Daniel Paul Schreber. He’s great fun, though his accent wanes at times, but perhaps that’s the point given the schizophrenia the real-life person his character shares a name with lived with.
The score by Bafta and Golden Globe-nominated composer Trevor Jones features some excellent hummable cues, particularly some for the action sequences, and the music also contains renditions of the songs Sway and The Night has a Thousand Eyes, performed by Anita Kelsey in the theatrical cut, and Jennifer Connolly, whose character sings them, in the director’s cut.
In closing, Dark City is a brilliant, though not without fault, science fiction noir which packs in loads of themes and metaphors (keep an eye and ear out for all the circles and spirals), has a strong central mystery, an outstanding look, feel and world, and deserves to be better seen. Its faults are far outweighed by the ambition on screen and it’s a very entertaining 100 minutes, which always leaves me pondering its meanings and with plenty to unpick and unravel.
A quick note on the different versions. Arrow’s release includes both the theatrical and director’s cuts of the film. I personally prefer the theatrical cut. Yes, it includes the unnecessary opening narration, but it also maintains a better pace, and a hell of a pre-credits hook. As well as removing the narration and the pre-credits hook and changing Connolly’s character’s singing voice, the director’s cut also adds about 11 minutes of footage, all of which is interesting, but none is really necessary.
Film: 
Dark City is released on separate limited edition 4K and Blu-ray editions by Arrow on 23rd June 2025. I reviewed the 4K edition. The new 4K restoration is astonishingly good, with incredibly fine detail (check out the walls in Murdoch’s apartment and jackets he and Bumstead wear, for example). It’s incredibly clean and allows the colour scheme to shine. Dark City is a very dark film visually, and this look is also maintained, allowing everything that’s meant to be seen to be clear, and the darkness to be ever present. It’s a marvellous transfer. The audio is also great, dialogue is fantastically clear, in a way I wish all 4K and Blu-ray releases were, whilst the sound effects and the music also sound excellent, though the music track is perhaps a tad too high. It’s a fabulous presentation all round.
Two-disc 4H Ultra HD limited edition contents:
Brand new 4K restoration from the original 35mm camera negatives approved by director of photography Dariusz Wolski
4K Ultra HD (2160p) Blu-ray presentations of both the Director’s Cut and Theatrical Cut of the film in Dolby Vision (HDR10 compatible)
Original DTS-HD MA 5.1, stereo 2.0 and new Dolby Atmos audio options for both cuts of the film
Optional English subtitles for the deaf and hard of hearing
60-page perfect bound collectors book featuring new writing by author Richard Kadrey, and film critics Sabina Stent, Virat Nehru and Martyn Pedler
Limited edition packaging featuring newly commissioned artwork by Doug John Miller
Double-sided fold-out poster featuring original and newly commissioned artwork by Doug John Miller
Three postcard-sized reproduction art cards
Postcard from Shell Beach
Dr Schreber business card
Disc One – Director’s Cut:
Brand new audio commentary by director Alex Proyas
Brand new audio commentary with Craig Anderson, Bruce Isaacs and Herschel Isaacs, co-hosts of the Film Versus Film podcast
Archive audio commentary by director Alex Proyas
Archive audio commentary by film critic Roger Ebert
Archive audio commentary by writers Lem Dobbs and David S. Goyer
Archive introduction by Alex Proyas
Return to Dark City, a new hour-long documentary featuring interviews with director Alex Proyas, producer Andrew Mason, production designers Patrick Tatopoulos and George Liddle, costume designer Liz Keough, storyboard artist Peter Pound, director of photography Dariusz Wolski, actor Rufus Sewell, hair and makeup artist Leslie Vanderwalt and VFX creative director Peter Doyle
Rats in a Maze, a new visual essay by film scholar Alexandra West
I’m as Much in the Dark as You Are, a new visual essay by film scholar Josh Nelson on film noir and identity in Dark City
Design and storyboards
Disc Two – Theatrical Cut
Archive audio commentary by director Alex Proyas, writers Lem Dobbs and David S. Goyer, director of photography Dariusz Wolski and production designer Patrick Tatopoulos
Archive audio commentary by film critic Roger Ebert
Memories of Shell Beach, a 2008 featurette in which cast and crew look back at the making of the film from concept to reception
Architecture of Dreams, a 2008 featurette presenting five perspectives on the themes and meanings of the film
Theatrical trailer
Image gallery
Disc one opens with an intro from critic Roger Ebert and director Alex Proyas which explains a bit about the director’s cut of the film and some of the differences to the theatrical cut. The extra dates from the 2008 DVD release of the director’s cut of the film.
Next we get no less than five audio commentaries, two of which are new and three of which are archival. The first new one is with director Proyas, who touches on similarities in his films, the themes on screen, and memories of the cast and crew he worked with. It’s a really good new commentary that feels different to the others and fresh, probably because Proyas is coming to it around 15 years after he last watched it. A strong start.
The second new commentary is probably my favourite on the disc and features film critics Craig Anderson who presents the Film Versus Film podcast, Bruce Isaacs and Herschel Isaacs. The trio complement each other well, touch on the inspirations for the film, the design, the inspirations, and plenty more. They clearly love the film and deliver their take on it in a very entertaining way.
The remaining three audio commentaries date from 2008. The first again features director Proyas and sees him explaining how the opening was more in line with how the film was originally conceived, and features some honest comments about the challenges he faced with the studio, a look at the changes to the theatrical cut and much more.
The second archival audio commentary features screenwriters Lem Dobbs and David S.Goyer looks at the circular nature of the world, the recurring metaphor of the spiral image, elements they added to the script, changes between the two cuts, and plenty of details about the plot which help to unpick it. It’s a very solid listen.
The final audio commentary on the first disc is a 2008 one with critic and fan Roger Ebert, who touches on the reception for the film and shares many thoughts on the plot of the film and what he enjoys so much about it – which is complemented by a second audio commentary from him on disc two.
Another standout extra on the release is a new hour-long documentary called Return to Dark City which packs an impressive cast of interviewees including director Proyas, producer Andrew Mason, production designers Patrick Tatopoulos and George Liddle, costume designer Liz Keough, storyboard artist Peter Pound, director of photography Dariusz Wolski, actor Rufus Sewell, hair and makeup artist Leslie Vanderwalt and VFX creative director Peter Doyle. It’s very much a retrospective, looking back at what worked and why they’re so proud to have worked on it.
I’m as Much in the Dark as You Are, is a great new 20-minute visual essay by film scholar Josh Nelson on film noir and identity in Dark City. Nelson runs through some of the themes and aspects that make up noir, before looking at these in Dark City, and then looking at how the film puts them through a sci-fi lens to change them up and modernise them. It’s a neat watch.
Rats in a Maze is a 15-minute visual essay by critic Alexandra West, which looks at the psychology and symbolism of mazes in Dark City. West looks at the recurring circles and spirals, and clearly and informatively outlining other psychological and symbolic aspects of the film.
The first disc ends with a ton of gorgeous designs, concept art and storyboards which auto plays for 14 minutes.
Disc two kicks off with more archival audio commentaries from 2008. First, we have one with director Alex Proyas, writers Lem Dobbs and David S. Goyer, director of photography Dariusz Wolski and production designer Patrick Tatopoulos. Understandably, this starts with criticism of, and the background to, the unnecessary narration that opens the film. We glean plenty of background to differences between the finished film and the original script, the look of the movie, production design and plenty more. It feels as though the segments were recorded separately and stitched together, but that’s no bad thing – it’s just an observation that means it feels different to commentaries where the participants bounce off each other. It’s an informative commentary, nonetheless.
The second archive audio commentary is by film critic Roger Ebert who was a huge fan of the movie when it was released, describing how it stirred his imagination like Metropolis and Stanley Kubrick’s 2001: A Space Odyssey. Ebert is incredibly passionate about the film and, as you’d expect for a legendary film critic, elegantly explains what he enjoys so much about it. He highlights inspirations for the film, and the background to theese inspirations, like classic film noir. A really great commentary, particularly if you’re a fan of the movie.
Building Dark City is a fantastic 43-minute documentary from 2008 which contains a number of interviews with cast and crew, headlined by Proyas. There’s inevitably crossover with other extras but that doesn’t diminish the quality of the documentary which runs us through from the genesis of the film to its release and reception, both critically and commercially.
Architecture of Dreams is another very good archival documentary from 2008, this time providing five different perspectives on the meaning of the film. The different aspects covered include it being a postmodern film (screenwriter Lem Dobbs), identity theft (UCLA Professor Vivian Sobchak), constructed worlds (NYU Professor Dana Polan), cities as spectacle and collective memories (Lem Dobbs and critic Roger Ebert), and one entitled Memoirs of my nervous illness by Daniel Paul Schreber (director Alex Proyas and critic Rosemary Dinnage) which looks at the real-life Schreber. It’s a great way to help unpack some of the ideas and themes in the film and plays a bit like a five-part visual essay.
Rounding out the disc are the trailer and an image gallery containing almost 300 production stills and some posters.
I wasn’t provided with the booklet or other physical extras, unfortunately.
In closing, Arrow have provided an outstanding package for an underappreciated gem of 1990s sci-fi cinema. The set includes two cuts of the film, both restored in 4K and looking and sounding absolutely amazing, seven audio commentaries including two new ones, an excellent new hour documentary, two enthralling new visual essays and two brilliant archival documentaries. It’s a film school in a box for a film that deserves to be studied more and more. Fans of Dark City should be very pleased indeed.
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