Funny
how some movies seem separated at birth, perfect soul mates for a perfect
double bill. Especially two sci-fi films that deal with a loner hero realizing his existence within a false reality and hunted
by men dressed in black. That’s the basic plots behind “Dark City,” and “The
Matrix,” the latter of which was filmed on the same sets as the former and
released a year apart. Some die-hard conspiracy buffs insist “Matrix” ripped
off “Dark City.” No. I see them as two pieces of inspired, similar art that
we’re lucky to have.
“City”
is from director/writer Alex Proyas, who was following the charcoal-colored
theme of his tragic actioner “Crow.” Here, a man (Rufus Sewell) wakes up in a
hotel bathtub with no idea where he is or – more vital – who he is. A
ribbon-sliced body of a woman lies nearby, but he saves a dying goldfish before
fleeing the room. This is a wondrously strange tale exactly modeled after 1950s
film noirs with the burg of the title stylized after some ’30s
hyper-drugged-out German architectural nightmare. There’s a dame (Jennifer
Connelly), a weary detective (William Hurt), and a group of pale men and one
boy dressed in black coats with strange powers. These creeps are called
“Strangers,” and exist below the city. Did I mention the disfigured mad
scientist? He’s here. German indeed. Not to say this is that kind of film. Not
Nazis. Further out. Crazy wonderful sinister fun, it's a must watch
for artistic candy, sharp story, heavily stylized acting, and the way it
gooses with one’s own memory. As the scientist, a creepy Kiefer Sutherland
recalls Peter Lorre, whose countless monsters/killers belong to this
world. A
“Matrix”
is the box office smash that launched a sci-fi subgenre. You know the story:
Thomas Anderson, cubicle drone by day and computer hacker by night, is
recruited by a Zen-guru resistance leader (Laurence Fishburne)
who says the world around them is a mirage, that Anderson lives inside a stream
of 1s and 0s. The real world is barren, most of humanity slave power pods to AI
robotic overlords. Directed and written by Andy and Larry (now Lana) Wachowski,
“Matrix” is a generational hallmark film, the “Star Wars” of our then-dawning
21st century, with an anti-authority alien tone lit green that is cliché now, but mind-shattering then. Bullet time, people. The fights as Thomas -– now Neo, a
Jesus-Christ-by-way-of-William-Gibson-by-way-of-John-Woo savior -- takes on a
cop/anti-virus named Smith (Hugo Weaving, hammering the Queen’s English into servitude)
still rock. As Neo, Keanu Reeves finally has the perfect arena for his
seemingly human blankness, playing the canvas for which all hope will be
painted. He’s never been better, more exactly right. The sequels were
ponderous, but this remains a thrill of cinema reimagined by two
visionaries. Incredible. A+
