Many directors have cut their teeth working in the music industry. They have fashioned their cinematic style and technique from the music videos they have made. Unfortunately I am not a fan of this school of movie making. McG, for example represents the epitome of style over substance. I detest this current trend for lightning editing. It is to the detriment of the film and frankly is insulting to the audience. But there is one director from this background who rises above his roots and exhibits talent and a fundamental grasp of cinema. Alex Proyas, director of "The Crow" and "I, Robot".

"Dark City" is a often overlooked film, lost in the wake of the media hype surrounding "“The Matrix”". Both have plot similarities and common themes. However it is “"Dark City"” that displays a deeper level of thought and perhaps this is why it lost favour with an audience not adequately equipped for its cerebral rigour. There is also an international cast that lacks a mainstream A list actor. Ten years on, director Proyas has re-edited the film adding additional material and some additional FXs footage. The results are quite startling and have quite an impact on the way the story is presented and the themes that are emphasised.

"Dark City" starts off as a stylised "Film Noir", with John Murdoch (Rufus Sewell) waking up in a motel with a dead prostitute. He's soon on the run from hard boiled cop, Inspector Bumstead (William Hurt). Can he trust his estranged wife Emma (Jennifer Connelly)? Is he really mentally ill as his Doctor Shreber (Kiefer Sutherland) implies or is there something more sinister going on? Who are the trio of tall strangers dressed in black, who are pursuing him over the ersatz 1950's city. A postcard hints at clues at shell beach, an out of town resort. But despite being sign posted no underground train seems to go there. Matters just seem to get stranger, as peoples identities change along with streets and buildings. Why is it perpetually night? The story soon descends into a disturbing dystopian nightmare or is it the work of more sinister forces.

This new director cut, turns a flawed but accomplished film into one that reaches its full potential. The detective story soon gives way to the dark plot elements and then becomes Gothic in its vision, finally revealing its other worldly denouement. To say more would spoil the plot for those who have yet to see it. The production design is striking mixing expressionism with art nouveau and 50's Americana. The story is reminiscent of Philip K. Dick work and has a hint of Kafka about it.

The cast is very eclectic (and international), featuring the talents of Ian Richardson, Richard O' Brien, Colin Friels, Bruce Spence and even John Bluthal (Frank Pickles from "The Vicar Of Dibley). Trevor Jones provides an evocative soundtrack. Proyas directs stylishly with a good grasp for story and character. This new cut, removes the voice over at the beginning and places a little more focus on the initial mystery. The theme of awaking from a perceived reality into a bleaker and more sinister one, as mentioned earlier draws comparisons with "The Matrix". However, the messianic allegory of that film is exchanged here for a more Nietzschian subtext.

"Dark City" by its very nature was always destined to become a cult film. Yet it actually is more than that, working on several levels. It can be viewed as a baroque science fantasy film or as a deeper commentary on the shallow and contrived nature of modern society. It is certainly a visually arresting and thoughtful (if sombre film). It is not excessively violent, though it is somewhat grotesque and brooding. The ending may spark a minor debate when you consider the implications.

XoD.