Darkman and Durant return and they hate each other as much as ever. This time, Durant has plans to take over the city's drug trade using high-tech weaponry. Darkman must step in and try to stop Durant once and for all.
Darkman, needing money to continue his experiments on synthetic skin, steals a crate of cash from drug lord Peter Rooker, attracting the gangster's attention. Rooker is determined to find ... See full summary »
A pair of whacked-out cartoon-like exterminator/hitmen kill the owner of a burglar-alarm company, and stalk the partner who hired them, his wife, and a nerd framed for the murder, who tells the story in flashback from the electric chair.
A loan officer who evicts an old woman from her home finds herself the recipient of a supernatural curse. Desperate, she turns to a seer to try and save her soul, while evil forces work to push her to a breaking point.
When three blue collar acquaintances come across millions of dollars in lost cash they make a plan to keep their find from the authorities but find complications and mistrust weaving its way into their plan.
Billy Bob Thornton,
Peyton Westlake is a scientist who has discovered a way to produce synthetic skin. This could revolutionise skin grafting, except for one minor glitch; the synthetic skin degrades after 100 minutes of exposure to light. When gangsters attack Peyton, he is horrifically burnt, and assumed dead. In his quest for revenge, Peyton, aka the Darkman, is able to take on the appearance of anyone (using the synthetic skin,) but he only has 100 minutes per disguise.Written by
Sam Raimi consciously wanted to tone down his style because of a desire to "get into the characters' heads and follow them as real human beings in extraordinary circumstances". See more »
When Peyton removes the bandages to reveal his Pauly face, the dagger tattoo is on the wrong side. It should be on his left side, it is on his right side. (And no, this has nothing to do with the mirror he is looking into.) It is very obvious since the real Pauly is lying in the bed just behind him for comparison. In the next scene at the restaurant, the tattoo has mysteriously migrated back to the correct side. See more »
'Cause he's an asshole! Tell him no. Tell him no, too. Him, tell "fuck you." No, I'm gonna be here a minute. Got some guy coming up who thinks he's gonna muscle me out of my property. What's it matter! Just another tough guy, that's all.
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The opening credit sequence is full of dark clouds and brief images of Darkman. The second A in the title is shaped like Darkman's silhouette. See more »
The UK theatrical version and original UIP video release was cut by 25 seconds to get a "15" rating. The 1991 CIC video was upgraded to an "18" and had most of the cuts restored, though 2 secs remained edited from the film owing to BBFC policy regarding footage of nunchakus. See more »
Was _very_ impressed -- what could have been a forgettable Z-movie turned out to be something rather profound
This movie might have joined the ranks of the utterly forgettable Z-movies of the genre had it not been for excellent direction, superb characterization, and outstanding acting on the part of Liam Neeson, who played Peyton Westlake/Darkman, and Larry Drake, who played his enemy, the arch-villain, Durant. The movie presents the destruction of a man by a psychopathic monster for utterly trivial reasons -- and makes it clear that however horrifying the physical damage perpetrated on Peyton Westlake by Durant's minions might be, the effect on his soul and spirit is far worse. At the same time, it showed that in spite of what happened to him, Westlake/Darkman was able to rise above it at least enough to choose the life of a giver of justice rather than one of evil, as the physically unscarred drug-lord Durant & Co., the _real_ monsters in this film, had. This film does _not_ glamorize psychopathic, criminal violence in any way, but rather shows it for what it really is: repellant, ugly, and contemptible, destroying life and everything that supports it without a qualm for no better reason than cheap thrills or a very minor profit. This is _not_ a typical Hollywood film, nor just a cheap garage-flick monster movie special. It shows with graphic realism exactly what is left when conscience, civilization, and the rest of the more delicate mechanisms that constitute our humanity are stripped away: pure beastliness, without glamour and without redemption of any sort. -- And it shows, as well, that even when everything is taken from a man, he can rise above it, choose to remain a man, however damaged, rather than sinking down to the level of the beast.
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