KNIGHT RIDER RETURNS TO THE SCI FI CHANNEL

FEATURE-LENGTH PREMIERE EPISODE KICKS OFF BRAND-NEW SERIES

TUESDAY 12 MAY at 8pm

Remember K.I.T.T.? – a.k.a. the Knight Industries Three Thousand, and simply the coolest crime-fighting car ever created? Well, it’s back in this high-octane, zappy sequel to the iconic ‘80s original. And, OK, this time things are a little different. It might not have The Hoff at the wheel (although he does make a cameo in the pilot episode) and it’s a 2008 Ford Shelby Mustang rather than a TransAm Pontiac, but now K.I.T.T.’s an even bigger beast in the fight against crime – and it’s got a new ‘voice’: superstar VAL KILMER! What’s more, it’s undergone a complete revamp from its predecessor. This K.I.T.T.’s certainly got ‘eat my dirt’ written all over it in very big letters. Equipped with Artificial Intelligence, K.I.T.T. is now capable of hacking into almost any security system and has the weapons capability of a jet fighter. It can also morph into the shape of other vehicles and uses sophisticated holographic imagery to elude all manner of villains.

So, sorry, Hoff: this one’ll leave you standing in the gutter! And along with all that state-of-the-art weaponry and that extra need for speed, it’s also got that other essential ingredient: sexual tension. Because behind the wheel is sexy young lead character Mike Traceur (JUSTIN BRUENING – ALL MY CHILDREN). Distracting Mike from all that crime-fighting is Sarah Graiman (DEANNA RUSSO -THE YOUNG AND THE RESTLESS), the gorgeous daughter of K.I.T.T.’s creator Charles Graiman (who’s played by sci-fi stalwart BRUCE DAVISON – X-MEN). And the source of all that sexual tension? Well, let’s just say that Mike and Sarah have a ‘history’…

KNIGHT RIDER also stars SYDNEY TAMIIA POITIER (daughter of Hollywood legend Sidney andstar of VERONICA MARS) as FBI agent Carrie Rivai, YANCEY ARIAS (KINGPIN) as FBI Agent Alex Torres, and PAUL CAMPBELL (BATTLESTAR GALACTICA) and SMITH CHO (FIRED UP!) as Billy Morgan and Zoe Chae, the techie support crew. Based on characters originally created by GLEN LARSON, the 17-episode KNIGHT RIDER comes from NBC Universal Television Distribution. The executive producers include DOUG LIMAN (director of THE BOURNE IDENTITY and the Brangelina vehicle MR AND MRS SMITH), GARY SCOTT THOMPSON (THE FAST AND THE FURIOUS) and DAVID BARTIS (HEIST, THE O.C.).

The series kicks off with a feature-length pilot episode (May 12), in which both K.I.T.T. and ex-soldier Mike Traceur are reborn for a new generation as they join forces to fight crime – stand by for that VERY SPECIAL mystery guest-star. In the second episode, ‘A Knight in Shining Armour’ (May 19), Mike comes face-to-face with both his past and an enigma called ‘The Package’ – a man with specially encoded and very valuable DNA. In ‘Journey to the End of the Knight’ (May 26), Mike goes undercover as a street racer to take down a gang that’s smuggling illegal weapons.

www.scifi.co.uk/shows/knight-rider

Emma Murdoch - Dark City

Dark City and me

To begin with I’d like to point out that Dark City, in my opinion is one of the best films of all time. I’ll forgive you if you have never heard of it and it is not a film I like to recommend. Why? Because I’ve recommended it three times now to separate people and while two out of three thought it was OK, even interesting, I was disappointed by their lack of enthusiasm. I realise it is only a movie, but occasionally cinema can have the power to make you think and want to discuss, sometimes more than perhaps is socially acceptable!

For me, Dark City is one of these films. It is rich in plot and subtext and blends elements of several genres including Sci-fi, noir and mystery.

I missed Dark City in the cinema, I’d have been 11 or 12 at the time of its release and its theatrical run was short and sporadic. Like many, I caught up with it on DVD, after watching part of the film late at night (the billboard scene). I had no idea what Dark City was about, but it was a scene that stayed with me, so when I found Dark City as part of a deal in (what was then) Virgin Megastores, I picked it up. I forget the other films I bought that day, but Dark City has been a personal favourite ever since. One irritation is that my copy was letterboxed (and no amount of jiggling with DVD settings could change this). Also, I wanted to know more. I wanted to hear what the actors thought of it, I wanted to listen to how and why Alex Proyas made it. What I got was a 5 minute “making-of” and all I really learnt from it is that Kiefer thought the set was the coolest he’d ever worked on.

Murdoch invesigating - Dark City

Dark City Director’s Cut

I, like many others, have been waiting for the Director’s Cut for years and thought it may never come. There had been rumours of a Director’s Cut ever since the film’s arrival on DVD (and probably VHS) as the theatrical run was quite different from the DVD version (which is widely considered by fans to be an inferior cut).

If you caught my earlier post here you will have sensed my excitement surrounding the new cut on July 28th of last year… and then? Nothing. I watched this new version when I purchased it the first miserable, rainy Saturday after its release.  Did I enjoy it, then? Well yes …and no. I think what it boils down to is that my expectations for “new” footage, fresh information and tons of features we so high that some amount of disappointment was inevitable. In fact, after watching some of the disc’s interviews following the actual film I left this copy well alone until… well, a couple of days ago. Now I know what to expect and I feel I’m looking at the whole thing a bit more objectively.

Dark City – the story

Before we begin, here’s a little recap on the story, taken from my earlier post:

Essentially Dark City starts out as a murder mystery/Neo-noir as we follow a man called John Murdoch (Rufus Sewell) who has lost his memory and discovers that he is connected to a string of murders. While searching for the real killer, Murdoch is pursued by a grim-yet-endearing cop Frank Bumstead (William Hurt) the slightly loopy Doctor Schreber (Kiefer Sutherland) and the creepy Strangers, who seem hell-bent on Murdoch’s destruction. While it does indeed incorporate elements of mystery, crime drama and noir, it is also a sci-fi film and it keeps you guessing about what exactly is happening from beginning to end. Helpfully, Murdoch is in the same position as the audience. Luckily, all of the major plot questions are resolved and the film ends what I consider to be one of the most satisfying finales in cinematic history.

Murdoch's fingers - Dark City

The new bits

OK, so the most important question to ask of the Director’s Cut would be what is different? What occurs in the extra minutes (15 or so) that was left out of the DVD release?

With the exception of a few shifts in narrative (I’ll come to this in a moment), most of the Director’s Cut consists of extended pre-existing scenes. Given that most of the Director’s Cut fan base will likely be those who have already seen the film, the three feature commentaries are a godsend for those wanting that little bit more. Finally, there are a series of documentaries featuring cast and crew (sadly no Kiefer or Connelly), which make for an interesting watch. There’s also a production gallery and a theatrical trailer, but these are unlikely to keep you occupied for too long.

The intro

While I always quite liked the voice-over they tacked on the beginning of the film, it did probably give away a little too much at the outset – for instance, that the people of Dark City had been abducted by the Strangers. If you happen to have seen the DVD cut before the theatrical/Director’s Cut, you will know from the outset that this is a Sci-fi story (or at least has Sci-fi elements). Without this voiceover, however, you may be forgiven for thinking that Dark City is just a normal city on Earth (albeit with some particularly strange attributes). Kiefer’s explanation, in this cut, is moved back to its original position aboard the small rowing boat bound for Shell Beach (one of my favourite scenes).

the little girl - Dark City

Extended scenes

While initially I’d hoped for more explanation as to how and why John Murdoch gained his ability to tune (if simply to shut up those who had called it a plot hole), I have come to understand that that’s not the point of the film at all. We are supposed to be left with unanswered questions and to theorise – would I have felt better if it had all been handed to me on a plate? No, probably not. I probably wouldn’t be watching Dark City again now with fresh eyes and perspective if I knew exactly what it all meant and how things had come to be. That is the magic that this film wields, and that is precisely why I’ve watched it (far) in excess of ten times.

My theory was that Kiefer’s Character Dr Schreber had injected Murdoch with the ability to tune early on and simply kept it quiet (I’m not sure if an injection could alter someone in this way, X-Men 3 style, even if tuning was possible). According to Alex Proyas commentary, Murdoch has indeed (as Schreber explains to Mr.Book), evolved and gained their ability.

Besides Murdoch’s spiral fingerprints (indicating his evolution and ability to tune) we are treated to several new special effects. These are more refinements, like to Murdoch’s tuning effect (something that always looked a little heavy-handed).

My one annoyance with the effects is that on the David Goyer commentary he explains how he suggested they change the Stranger parasites from insects into those weird gloopy CGI things we get in the final cut. I was hoping these would have been altered or changed in the Director’s Cut as (in my opinion) they look pretty shoddy. I remember seeing some cool concept art and Dark City notebooks (I think on the old Dark City site) that showed more skeletal, facehugger/insect type creatures and I think these would’ve looked cooler. In fact, the parasites (unchanged) would have to be my biggest annoyance with this newer cut.

Beisdes those few seconds where Murdoch looks at his fingerprints and the addition of the little girl, my favourite new editions to the Director’s Cut are the inclusion of extra lines courtesy of Bumstead and Emma. While (as Proyas explains in his commentary) they add nothing new to the story, they allow us to explore the characters a little more. Bumstead has always interested me, and to learn that in the original drafts he was the main character comes as little surprise. This also works well because all of the characters are archetypes courtesy of the Strangers erasing and changing their memories nightly. In a movie where we like the characters but they must be one-dimensional to fit the story, any additional lines are welcome.

Murdoch - Dark City

Feature commentaries

Roger Ebert opens his fantastic and thoughtful commentary by explaining that Dark City has a cult following of people who genuinely care about the film and were excited at the news of the Director’s Cut. I think it is very true when he goes on to say how other, far more commercially successful films of the Dark City period (circa 1998), have been forgotten while Dark City’s subterranean fan base persists.

I am interested that Proyas does actually mention an idea for a sequel detailing how Murdoch comes to deal with his powers. I’ve considered this myself a number of times, but I never thought I’d hear Mr Proyas mention the idea of a sequel without cracking his face. Of course, given the reception of the first film, this would never happen and it’s probably for the best. It is a stand-alone, one of a kind and it doesn’t need watering down with a needless sequel.

While there’s no point in me recreating a transcript of the documentaries and commentaries to be found on the disc, they are very interesting for fans of the film. Also, it’s nice to know that some university professors have adopted Dark City as part of their course (I heard another example of this while I was on holiday in Canada). This has happened because Dark City deals with our existence and questions whether we are just the sum of our memories or more besides. As you would expect, the film can also be interpreted a number of ways, making it perfect for discussion. David Goyer expresses on his commentary that he sees Dark City as a sort of purgatory where its inhabitants are already dead, conversely, he mentions how Proyas always saw the city itself as an interstellar generations ship of 1000 years in the future, taking humans to another place. Both are interesting theories. One thing is certain (and I completely agree with Alex Proyas here) that when a few of the film’s critics said “all style and no substance” they were talking out of their behinds!

I said I don’t like recommending this film, but give it a go. If anything, it may help you express yourself (even if the expression is one of anger!)

Oh well, Stephen King mentioned how he had become a horror writer without ever really intending to (I believe I read it in his very useful On Writing book) and that he didn’t mind too much because it put his kids through college. If I’m ever in that position then I doubt I’ll be complaining too much!

It’s the same with Sci-fi – instantly I think of nerds and Star Trek, before I think of stuff like Star Wars or War of the Worlds (which in my opinion have a wider appeal – whether or not this is fact, I do not know). I refuse to buy the latest issue of SFX because it’s got a photo of Sylar on the cover doing the Star Trek sign – is that supposed to entice me?! well it doesn’t. It’s a brill magazine, though, even if the “F” in the SFX logo looks a lot like an “E” …hmm, I wonder.

Ultimately in order to work out as stories, both the above genres need similar problems that we all must face and a dollop of human condition or there would be nothing for the reader or viewer to relate to. Still, it’d be nice for a few cooler-sounding genres to appear. For example, “fantasy” could become “awesomepeoplereadthese” or some cut-down variation of this. Wouldn’t that increase reader/viewership? Just an idea.

I had a dream the other night where I was forced to leave my family home pretty quickly. I forget the details but it was some apocalyptic scenario possibly only involving this part of Devon because I think the plan was to just move up country a bit and live as nomads. Now I know full well that in situations like that you should really just leave – I think the destruction of my home was imminent because people were all panicky, but before my escape I went into my room and started selecting things I couldn’t live without.

Basically I got myself a carrier bag and stuffed in two of my story manuscripts (double-spaced), my mobile phone and my wallet. I spent a good deal of time in deliberation over what else I could cram into my straining Asda bag but pretty much settled at that little lot. It intruigues me that I glazed over my DVD collection and books. I don’t remember grabbing my mp3 player either. I must have been feeling ruthless. In reality I’d probably have spent a good deal more time trying to ransack my own room, and possibly have left it too late to leave (house crumbles/burns/is eviscerated with me inside, amen). It would be an interesting scenario to try, I’d love to be able to live without things and lead a simple life near the foothills of Alaska (is life there simple? I don’t actually know) but then I do like my DVDs. And my books.

Hmm.

Recently I’ve been writing short stories, aiming to have them published in magazines. Hopefully I’ll crack it and this’ll add a bit more weight to my writing CV. Maybe I’ll be able to put a story or two on the site then, but we shall have to see. So far I have two short stories, one is a fantasy/fiction piece concerning time travel and another which is a claustrophobic sci-fi tale. I have quite a few ideas which I hope will flourish into more short stories. I’d like to get to the stage where I have an army of these which I can use as ammunition whenever someone shows interest in my writing and asks to see some.

I’m really enjoying writing these. It helps me to focus on words and sentences, to keep everything tight, to (try to) tell a coherent story in a short space of time and to watch the word count. I’d advise anyone who likes writing and is looking to be published to give it a try. Also, on weekday mornings when I’m fresh (knackered & grumpy) I can edit a printed copy and check it for flow/spelling etc.

Whether I’ll continue with these one-a-week short stories remains to be seen, as I am starting to get into writing my new book, but I’ll update here with any developments. Until then, if you’re a writer – happy writing!

It’s finally here, the edition that fans of the understated cult film Dark City have been waiting years for. I take a look at the film then and now, as I wait impatiently for the new edition, released in the UK August 8th, and July 29th in America. For the benefit of those who have not yet seen the film, I have tried to ensure the following is spoiler-free.

Dark City

In 1998, shortly before sleeper-hit movie The Matrix made it big and spawned two lackluster sequels, Alex Proyas’s Dark City was released. You may never have heard of it, but its cult success is soon to earn it a director’s cut in little over a week. Fans have been awaiting a special edition – more like the original theatrical release for nigh on a decade, and their wishes will be answered roughly around the time of the film’s tenth anniversary. What makes the film so special to those who have seen it? A good question… as a big fan myself I will try to answer. While The Matrix reused some of Dark City’s sets and the two films are often compared, they are, when you think about it, entirely different animals.
To list their similarities (and there are a few, but only rudimentary themes) may well reveal too much and spoil Dark City for the viewer. 

Essentially Dark City starts out as a murder mystery/Neo-noir as we follow a man called John Murdoch (Rufus Sewell) who has lost his memory and discovers that he is connected to a string of murders. While searching for the real killer, Murdoch is pursued by a grim-yet-endearing cop Frank Bumstead (William Hurt) the slightly loopy Doctor Schreber (Kiefer Sutherland) and the creepy Strangers, who seem hell-bent on Murdoch’s destruction. While it does indeed incorporate elements of mystery, crime drama and noir, it is also a sci-fi film and it keeps you guessing about what exactly is happening from beginning to end. Helpfully, Murdoch is in the same position as the audience. Luckily, all (but one*) of the major plot questions are resolved and the film ends what I consider to be one of the most satisfying finales in cinematic history. 

The cast are notable actors and actresses, with Rufus Sewell (A Knight’s Tale, The Illusionist), Kiefer Sutherland (24) and William Hurt (The Village, A History of Violence) heading up proceedings. Richard O’Brien’s portrayal of the sinister Mr Hand is played with such unique mannerisms that the rest of the Strangers (pale-skinned, well-wrapped top hats) were told to imitate his performance. Other notable characters come in the form of Jennifer Conelly’s Emma Murdoch, who lends to the proceedings a little love and at times desperation. Also, Ian Richardson’s stone-cold Mr Book, who puts in some noteworthy appearances. Absorbing all the nuances of the plot could take some time, there’s foreshadowing of events that give you the “Ahhh” factor when you remember something earlier that slightly jarred. In piecing together the rich tapestry that is the plot, you will, if you are anything like me, want to go back and watch it again. 

Sets are subtle, sometimes twisted and in places breathtaking, e.g. the Shell Beach billboard scene and the great clock. Visual references to films like Metropolis (an inspiration for the film) and The City of Lost Children while present, do not detract from the film’s wholly unique look and feel. Pacing is fast with three-second cuts, and the score fits perfectly, slowing towards the end as the film winds up. The world the peopple of Dark City inhabit – a city of perpetual night as the film’s title suggests, is a melding of past and present architecture.

There have been one or two so called plot holes* which I would argue aren’t plot holes at all, but merely ambiguities and open for interpretation (to explain what these are, may prove spoilerish, but I am open for discussion). 

Dark City Director’s Cut

At its time of release, Dark City came and went without much recognition – an unsung hero of cinema. Many of those who did see it enjoyed it immensely, although they remarked that the theatrical cut was a richer treat than the DVD release**, with better special effects for the parasite creatures (so I’ve been told). Dark City’s relatively poor takings at the box office have been accredited mainly to a poor marketing scheme and misleading trailers - it is difficult to summarize a rich story in a trailer or a blurb so that it reflects the flavour of the story in question, and even more so with a highly intricate story like Dark City.

Donnie Darko came out at the wrong time – 2001 was a bad year for releasing movies concerning plane crashes and consequently it suffered from a sporadic cinema life. However, the DVD release made it a cult and mainstream success, and soon everyone was talking about it. Fans of Dark City may hope that it will do the same in its new extended form – wishful thinking perhaps, but we shall have to see. A cinema re-release would also be nice, but you can’t have everything! 

Director’s Cut: Features 

Boasting an extra 15 minutes of footage, an already highly acclaimed commentary by Roger Ebert and others, new special effects and a silent intro (without Shreber’s voice-over, which disappointed fans of the original cinematic release, but which I actually rather like). Take a look at the following link for disc extras on the Dark City Blu-Ray version. I plan on making a follow-up post with some Dark City Noir-ish posters I’ll put together and my thoughts on the new cut.
 
The Dark City Director’s cut will be released on 8th August in the UK and July 29th in America.

Links:

Dark City Blu-Ray
Amazon Listing
HMV Listing

 **All references to the original DVD refer to the region 2 copy, without the Shell Beach game and special features.