"[59], Andrea Basora of Newsweek, stated that director Proyas flooded the screen with "cinematic and literary references ranging from Murnau and Lang to Kafka and Orwell, creating a unique yet utterly convincing world". They find and confront Dr. Schreber, who explains that the Strangers are endangered alien parasites with a collective consciousness who are experimenting on humans to analyze the nature versus nurture concept of their human hosts in order to survive. "Dark City" by Alex Proyas resembles its great silent predecessor "Metropolis" in asking what it is that makes us human, and why it cannot be changed by decree. "[51] Berardinelli also said "Dark City appears to be New York during the first half of this century, but, using a style that is part science fiction, part noir thriller, and part gothic horror, he has embellished it to create a surreal place unlike no other. [40] Comparisons have been made between scenes from the movies, making note of similarities in both cinematography and atmosphere, as well as the plot.[41].

Dark City is constructed like panels in a Batman book, each picture striving for maximum dread."

Loughlin writes of the lack of background, "The origin of the city is off-stage, unknown and unknowable." Murdoch now casts new shadows for the city inhabitants, who must trust his judgment. Tatopoulos said Proyas wanted to make the Strangers energy beings, "Alex called me and said he wanted something like an energy that kept re-powering itself, re-creating itself, re-shaping itself, sitting inside a dry piece of human shape. When design first started, the filmmakers considered having the Strangers be bugs underneath but decided that the bug appearance was overused.

Murdoch turns the habitat toward the star it had been turned away from, and the city experiences sunlight for the first time. and noted that "Dark City opens by immersing the audience in the midst of a fractured, nightmarish narrative. [47], When Christopher Nolan first started thinking about writing the script for Inception, he was influenced by "that era of movies where you had The Matrix, you had Dark City, you had The Thirteenth Floor and, to a certain extent, you had Memento, too. In the room, Murdoch discovers the corpse of a ritualistically murdered woman along with a bloody knife. He is hunted by the police for a series of murders he knows nothing about, a woman who claims to be his wife is after him, and so is a mysterious "doctor". Internationally, the film took in an additional $12,821,985 in box office business for a combined worldwide total of $27,200,316. The screenplay was written by Proyas, Lem Dobbs, and David S. Goyer. Some critics have noted its similarities and influence on the Matrix film series, whose first installment came out a year later.[5][6][7]. [3], Among mainstream critics in the U.S., the film received generally positive reviews. He receives a phone call from Doctor Schreber, telling him that some people are coming for him and he should leave immediately. During the telephone conversation, John discovers the corpse of a brutalised, ritualistically murdered woman, along with a bloody knife. Film critic Roger Ebert cited it as the best film of 1998. The set for the lair was fifty feet (15 m) in height, where an average set is thirty-six feet (11 m).

We laid some rail for it to ride on. Before leaving, he finds the body of a woman. A director's cut of Dark City was also officially released on DVD and Blu-ray Disc on 29 July 2008.

Schreber betrays them by instead inserting false memories in Murdoch which artificially reestablish his childhood as years spent training and honing his tuning skills and learning about the Strangers and their machines. [40] Ebert used it in his teaching, and also appears on a commentary track for the original DVD and the 2006 Director's Cut.

"[51] Describing some pitfalls, Jeff Vice of the Deseret News said that "when critics talk about films being 'style over substance,' they're definitely talking about movies like Dark City, which looks good but leaves an unpleasant aftertaste. A piece will look like a street in London, but a portion of the architecture looks like New York, but the bottom of the architecture looks again like a European city. "[52] In the San Francisco Chronicle, Peter Stack wrote that the film was "among the most memorable cinematic ventures in recent years", and that "maybe there's nothing wrong with a movie that is simply sensational to look at."

[71] The film went on to earn $14,378,331 domestically in total ticket sales through a 4-week theatrical run. He believed Dark City contained a "complicated plot" while also having important themes that were "no more than window dressing".

A corner from one place, another from some place else. John Murdoch's escape from the prison parallels the escape from the cave in the allegory. "He can't put the facts together because they don't add up to anything rational. Taglines The screenplay was written by Proyas, Lem Dobbs, and David S. Goyer. They reintroduce and walk to Shell Beach, beginning their relationship anew. He sees people fall comatose at the stroke of midnight, and he is pursued by The Strangers. John Murdoch (Rufus Sewell) wakes in a hotel bathtub, suffering from what seems to be amnesia. This guy wears bad luck like the grimy trenchcoats of his protagonists, only his zipper's stuck and he can't seem to shake the damn thing off." Sewell plays John Murdoch, an amnesiac man who finds himself suspected of murder. [17] The film would premiere in theaters nationwide in the United States on 27 February 1998, screening at 1,754 cinemas. Frustrated, Murdoch tears through the wall, revealing a hole into deep space. In expressing his negativity, he believed "Dark City looks like a million bucks (or rather, a million bucks gone to compost), but at its dark heart it's a tedious, bewildering affair, lovely to look at but with all the substance of a dissipating dream. Biodrowski writes, "As the story progresses, the pieces of the puzzle fall into place, and we gradually realize that the film is not a murky muddle of visuals propping up a weak story. [61] Similarly, David Sterritt wrote in the Christian Science Monitor that "The story is dark and often violent, but it's told with a remarkable sense of visual energy and imagination.

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