Dark City

Washington Post Stephen Hunter

If you don't fall in love with it, you've probably never fallen in love with a movie, and never will.

Chicago Sun-Times Roger Ebert

A great visionary achievement, a film so original and exciting, it stirred my imagination like "Metropolis" and "2001: A Space Odyssey."

Time Richard Corliss

It is as cool and distant as the planet the Strangers come from. But, Lord, is Dark City a wonder to see. [2 March 1998]

New Times (L.A.) Andy Klein

Full of provocative concepts, but, like most films that attack such metaphysical concerns head-on, things have become a tad too jumbled by the end to be altogether satisfying. It's a problem built into the subject matter...This all said, Dark City is immensely entertaining, as well as visually dazzling.

Newsweek Andrea C. Basora

Proyas floods the screen with cinematic and literary references ranging from Murnau and Lang to Kafka and Orwell, creating a unique yet utterly convincing world.

Washington Post Rita Kempley

Obliged to go from lost soul to demigod, Sewell's performance is as fascinating as Proyas's mystical vision.

ReelViews James Berardinelli

Dark City has as stunning a visual texture as that of any movie that I've seen...Visually, this film isn't just impressive, it's a tour de force.

USA Today Marshall Fine

Fascinating, visionary filmmaking. With its amber-tinged palette and its distinctively dystopian view of life, it may be the most unique-looking film we've seen in ages...[but] defies logic and makes frightening and unexpected leaps.

Chicago Tribune Michael Wilmington

Proyas' movie lacks a truly rich or compelling story -- although the city secret is certainly a rich and compelling idea. All too often, Dark City seems a great production design in search of a movie, an ultimate modern film noir pastiche, in which the images are so strong they overpower the drama. [27 Feb 1998]

Christian Science Monitor David Sterritt

The story is dark and often violent, but it's told with a remarkable sense of visual energy and imagination.

The New York Times Stephen Holden

So relentlessly trippy in a fun-house sort of way that it could very easily inspire a daredevil cult of moviegoers who go back again and again to experience its mind-bending twists and turns. Although its story doesn't add up when you analyze it afterward, the movie does take you on a visually arresting ride that offers many unsettling surprises right up to a sentimental sunburst of an ending that has a paranoid undertone.

San Francisco Examiner Walter Addiego

It's full of visual flash, and can be enjoyed as a giddy ride, but you would waste your time trying to puzzle out the nuances of the story.

The Globe and Mail (Toronto) Liam Lacey

An almost really good movie...risks leaving the viewer feeling like one of the bewildered automatons that move through the plots.

LA Weekly Manohla Dargis

[Proyas] hasn't yet learned how to enliven his characters as fully as his sets. Part of this is structural (somnolence is built into the script), but the greater fault lies with Proyas' direction of his performers, most of whom deliver their lines in a strangulated whisper.

TV Guide Maitland McDonagh

It's all about the amazing look, cobbled together from an astonishingly evocative range of sources: "Nosferatu" and "Mad Love," "Brazil" and "Metropolis," a haunted mosaic of bits and pieces of movie memories.

Film Threat Anthony Miele

Hurt and Sewell are both quite believable as their respective characters, while Sutherland's performance is lacking in more than a few catagories.

The New Yorker Sarah Kerr

Perhaps too much attention to special effects.

Entertainment Weekly Ty Burr

It's a little short on coherence and long on comic-book sensationalism -- dig the hokey, climactic Battle of the Minds between the hero and a cadaverous Mr. Big -- but there's no denying the nightmarish pull of the film's aesthetic.

San Francisco Chronicle Peter Stack

Dark City grabs your eyeballs and squeezes.

Variety Todd McCarthy

What they have done is taken a few second-hand ideas from noir and speculative fiction and mixed them in occasionally striking ways, even if, in the end, the result isn't all that much fun.

Austin Chronicle Marc Savlov

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.

Los Angeles Times John Anderson

Proyas is trying simultaneously to create a pure thriller and sci-fi nightmare along with his tongue-in-cheek critique of artifice. And this doesn't work out quite so well.

Chicago Reader Lisa Alspector

One reason this production-design vehicle is so incredibly boring is that the characters keep having to explain the plot to one another.