Darkman (1990)

Long before Sam Raimi became the creatively bankrupt Hollywood big shot some genre fans have grown to dislike, he was spilling his creativity onto the screen with some of the most inventive projects in cinema. Coming hot off the heels of “Evil Dead II” (1987), a film that garnered a positive response from both audiences and critics, Raimi was given the proverbial keys to the kingdom and called up to the majors (in this case, Universal Studios) to make a picture with something he frequently lacked: money. He had interest in helming adaptations of either “The Shadow” (which Universal already had in development with another team) or “Batman” (we know who had that at the time). Undeterred by these dead ends, Raimi did what creative directors do: he created a character that embodied the qualities he admired in The Shadow and Batman, but also one that would have been right at home with Universal’s classic monsters of the 1930s. His creation was The Darkman, a character whose origin story went through over a dozen drafts before “Darkman” (1990) was given a go from the studio brass. The resulting picture was Raimi operating within his wheelhouse, using his signature camera work and frenetic action to tell a gothic love story that, once again, was a hit with audiences and critics.

Dr. Peyton Westlake (Liam Neeson) is a scientist working on a synthetic skin to help burn victims, operating out of his lab near the river in L.A. His girlfriend, Julie (Francis McDormand), is an attorney who uncovers corruption within the city’s largest real estate developer, run by Louis Strack (Colin Friels), when she inadvertently finds a document detailing bribery. She confronts Strack, who does the rational thing by sending his henchman, Robert Durant (Larry Drake), and some thugs to retrieve the document and kill everyone in the vicinity. At the time, that happens to be Peyton and his lab partner. Durant has his goons disfigure Westlake before setting a time bomb and blasting his charred body into the river. Presumed dead, Peyton somehow survived the blast, with horrifying burns covering almost half his body. Doctors performed a procedure that neutralized any pain he could feel, but as a side effect it allows his adrenaline to go unchecked and his mental state to become unstable. Peyton escapes from the hospital and rebuilds his lab in an abandoned factory. The synthetic skin he’s been working on only lasts for 100 minutes in sunlight, but that’s all the time he needs (usually) to disguise himself as Durant and his toughs. He rechristens himself Darkman, dedicating all of his efforts to seeking vengeance against all those who were responsible for creating him.

Raimi came up with an awesome story that could only have worked in his hands. He and director of photography Bill Pope, frankly, shot the shit out of this thing. There hadn’t been a movie since “Creepshow” (1982) that so emulated and perfectly captured the essence of a comic book. Raimi’s work had always showcased impressive camera movements and acumen for visual style, but the massive increase in budget afforded to him on “Darkman” meant nearly any of his lofty ideas could be achieved. All of the crazy shots that made “Evil Dead II” so memorable are accounted for here. I love when Darkman goes into a fit of rage and we feel like we’re inside his mind as fiery cracks appear in his head, everything goes red, and the camera moves in a hypnotic/nauseating way. There’s so much life in the camera that cause scenes to pop and stick in your mind more than any standard direction could have done. The scene of Peyton’s attack is particularly impressive, with Neeson’s face smashed into glass cabinets as we watch from within. The camera swoops and zooms and pulls all around as he’s tossed, burned, nearly drowned, and finally blow sky high and into the river.

That scene also showed just a small indication of make-up artist Tony Garder’s excellent work to come, when Peyton grabs two poles that look like they belong in “Phantasm” (1979) and his hands melt away down to the muscle and bone. They did it the old-fashioned way: stop-motion. And it looks great. Gardner’s prosthetic work here should have earned him an Oscar nomination because it can be hard to tell where Darkman ends and Liam Neeson begins. For such a large piece worn over a head, the result is something so lifelike you’ll forget there’s a man underneath. The movement is about as fluid as a guy with no lips and a well-done face can get.

Speaking of which, Neeson really gives his all here as a once noble man who so desperately wants revenge because these guys ruined his chance at having just a normal life. That’s all he wanted. He has to live knowing he’s a hideous freak while his girlfriend is out there, alone, and he knows they can never be together. At its core, “Darkman” is just as much a love story as anything else. And to make that work, you need a guy who can do sympathetic and “I will find you and I will kill you”. And that guy is Liam Neeson. As Peyton, he’s jokey and casual, just happy to be alive and doing a little bit of good in the world. As Darkman, all of his inner rage comes bubbling to the surface like liquid hot magma and he has little control over the beast he’s become. Neeson portrayed the character with a genuine sincerity, giving him the ultimate tortured soul. He even went so far as to make sure the FX department had the teeth in tight so they wouldn’t move while he spoke, since it would compromise the authenticity. His performance is a standout in a film full of memorable roles.

Lots of credit needs to be given to Larry Drake, Nicholas Worth and Dan Bell, who are all “impersonated” by Darkman using his synthetic skin masks. I use quotations because these guys all do such a phenomenal job of playing their doppelgangers, who we’re supposed to believe are actually Peyton when he’s trying to trick the mob. Drake is especially good, showing two very different sides to Durant at the same time. I really love how Raimi used this as a plot device because it’s so damned fun watching Peyton use his skills to screw with everyone.

All these years later, “Darkman” holds up exceptionally well as one of the greatest comic book movies to ever hit the screen, and it’s not even based on one. Raimi was in his prime here, using all of his abilities to make the film not only memorable from a story standpoint, but just as unforgettable thanks to a wide range of visual flair. The excellent casting is anchored by strong performances from Neeson, McDormand, and Drake. Gardner’s makeup is outstanding is every scene. Elfman’s score is typical, but great if you forget all the stuff he did that sounds like it since. It’s superb. Since Universal doesn’t see it that way, though, Scream Factory has come along to deliver a package full of features that should please fans.

Drag Me To Hell (2009)

Yet another review from the crypt, this for Raimi's best film in ages...

It’s been almost 20 (!) long years since Sam Raimi waded into the genre pool with his last horror offering, 1993’s Army of Darkness. The film was the second, and most likely final, sequel to the Evil Dead film series, the trilogy which put Raimi’s name high up on the list of horror’s most beloved directors. After its release, everyone was wondering what kind of new horrors he would have in store for fans. However, rather than sticking to his low-budget roots, Raimi expanding into cinema with non-genre offering such as The Quick and the Dead (a much better film than it’s given credit for being), A Simple Plan (a well-received, and rightfully so, crime drama), For the Love of the Game (for the love of God, why?) and The Gift (a decent, if not bland, thriller). Fans, though weary of his output, held out hope for another masterpiece of horror. And then the announcement came that he would be directing Spider-Man. This was, in essence, the nail in his horror coffin, since once most low-budget directors go big (I’m looking at you, Peter Jackson) they don’t tend to revert back to relying on practical FX and smaller budgets. The Spider-Man film series has kept Raimi busy for the better part of the last decade, so when it was announced that he was taking a much-needed break to direct a low-budget horror film, well, needless to say, his longtime fans were frothing at the mouth. No, it wasn’t going to be the oft-discussed Evil Dead 4 (a project which, frankly, is past its expiration date), but an original piece written by Sam and his brother, and longtime collaborator, Ivan. The finished product, Drag Me To Hell, is a fun little horror flick, but there are some obstacles that keep it from being the low-budget jewel so many were hoping for.

Christine (Alison Lohman) is a loan officer at WilshirePacific Bank, where she’s hoping to snag the newly-opened Assistant Manager’s position. When an old gypsy woman comes in to get a third extension on her mortgage, Christine’s boss, Mr. Jacks (David Paymer), tells her that an assistant manager has to make the tough decisions, so it’s her call. Knowing that her promotion may ride on her choice, she decides to deny to old woman her extension, even though she will lose her house. After work, the two have an all-out catfight in a parking lot, culminating in the old gypsy placing a curse on Christine. As told to her by a local soothsayer, Rham, the curse causes the recipient to be tormented for 3 days, after which the ground is opened up and they are literally dragged to Hell. Christine, and her boyfriend, Clay (Justin Long), now have to find a way to undo the curse before she suffers that very fate.

The film’s trailers don’t do a whole lot to make it look like anything other than a generic horror flick, but fans of Raimi’s prior films will know this is likely to be anything but. Raimi is known to combine horror and slapstick comedy, a trademark in full effect here. That’s both a blessing and a curse, since many scenes that should be terrifying end up as slightly campy due to the humor. This isn’t necessarily a slight on the film, but I think that there should have been a stronger undercurrent of terror running throughout the picture. A few gags are repeated once too often, especially the possessed handkerchief. Yes, you read that right. It worked once, but it doesn’t do much the second time it pops up. My biggest complaint has to be the overuse of shoddy CGI. I had hoped Raimi would use almost 100% practical effects here, since he’s known for having some of the best in his films, but many of the intended scares were diluted by the poor computer renderings. That fact left me dismayed since I had hoped to get some spectacular gross-out set pieces, only to find haphazard computer work. I will say, though, that what practical effects are shown on-screen are rightfully nasty and definitely got the audience hooting and hollering.

I wasn’t entirely sold on Alison Lohman in this role. She does a reasonably good job, but she often has an uneasy delivery to her lines that tended to throw me off. I can’t complain too much, however, since the lead was originally intended to go to Ellen Page, she of (the worse fucking film of 2007) Juno fame. Her inclusion here would have kept me from seeing the film at all. I loathe her on so many levels. But I digress… Lohman does seem to be sleepwalking a bit here, but as I said, she does well enough that I’m not going to complain much.

One actor who always shines, in my opinion, is Justin Long. Even though it’s a slight stretch casting him as a college psychology professor (I don’t know, maybe my mental image is of someone who looks a bit more distinguished, or like Dr. Weil), the guy can still hold a film together. He was one of the highlights in Jeepers Creepers, but I’ve found his best work to be in comedy. He’s got some serious chops in that department. See Zack and Miri Make a Porno and you’ll know what I mean. Though he doesn’t have a whole lot to do here aside from acting concerned, and providing a major plot point at the end, his presence is still a plus for the film.

Here’s something I rarely notice in films today: sound design. Drag Me To Hell has some of the most incredible sound I’ve heard in a theater in a long time. It’s abrasive, unnerving, tormenting and VERY FUCKING LOUD.. I doubt this is going to win an Oscar or anything, though it should, but the sound design here alone is worth the price of admission. I’m sure it’ll sound sweet as hell on a decent home theater system, but don’t wait for the Blu-ray to come out. This is definitely something you need to experience in a theater. Raimi has always had a penchant for creative use of sound, Evil Dead II is a perfect example of this, but the uninitiated will be in for quite the auditory treat.

I’m recommending you see this, but it’s a mild recommendation. I really wanted to be blown away by this movie, but some of my minor quibbles keep it from being a full-blown return to form for Sam Raimi. For one, the torment Christine goes through for 3 days isn’t nearly as tormenting as I had anticipated. Truth be told, it’s rather tame. There are some worthy practical FX on display, but for every one of them there’s any equally appalling CGI monstrosity that sucks you right out of the action. I will say this, though: the ending has some balls, and those are in short supply these days. Don’t let the PG-13 rating dissuade you here. Anyone familiar with Raimi’s films knows that he has a tendency to use multi-colored oozes and puss in lieu of traditional red blood, and there’s no need for nudity here, so an R-rating isn’t required. Many great horror films haven’t been R-rated, not that this is great, but it’s simply not an issue for this particular flick. Summer could use a few good scares, so go see it to diversify your summer viewing schedule.