“What’s the best Matrix movie?” is a question no one asks. Because the answer seems obvious.
But it’s not.
Because what everyone misses is that the film which handles the style and themes of The Matrix better than any other isn’t an official Matrix installment at all.
In the labyrinthine depths of science fiction cinema lies a dark gem that predates the Wachowskis’ groundbreaking trilogy.
Dark City, released in 1998 and directed by Alex Proyas, dares to delve into the same philosophical territory as the Matrix films but manages to surpass them in its execution, delivering a mind-bending experience that resonates long after the credits roll.
This movie is old enough to no longer qualify for its parents’ health insurance, so be advised: Spoilers ahead.
Dark City presents a dystopian world enveloped in an eerie noir atmosphere, a stark departure from the sleekness of the Matrix universe. Its stunning visuals, reminiscent of classic film noir and German expressionism, captivate the viewer, creating a sense of unease and wonder. The film’s narrative is layered in such depth as to transcend the Matrix franchise’s action-oriented approach.
And the city itself, a maze of shifting architecture and perpetual darkness, becomes a memorable character in its own right.
The story unfolds through the eyes of John Murdoch, a man who wakes up with no memory and finds himself pursued by the police and a mysterious group known as the Strangers. As John unravels the truth about his identity and the nature of his reality, he discovers that the city is just a construct manipulated by the Strangers, who possess the ability to alter memories and shape the world to their whims.
Much like the Matrix trilogy, Dark City excels in its exploration of profound philosophical questions. It plumbs the nature of reality, free will, and the power of the mind.
But what sets Dark City apart is its intimate focus on individual identity and the importance of memories in shaping one’s self-concept. As John Murdoch pieces together fragments of his past, he grapples with the disturbing implications of memory manipulation and the essence of his existence.
That manipulation is engineered by the Strangers, enigmatic beings driven by curiosity about the human soul. Serving as the city’s architects as well as its oppressors, their presence is haunting, their motives cryptic, and their methods chillingly effective.
The Strangers’ experiments on the city’s inhabitants pose thought-provoking questions about the nature of consciousness and the fragility of personal identity. One night’s paupers become princes the next. And lovers become total strangers.
It’s no wonder, then, that Dark City also treats us to exceptional performances. Rufus Sewell delivers a gripping portrayal of John Murdoch. His journey from confusion to self-discovery is compelling, and Sewell captures the emotional weight of his character’s arc with understated intensity.
The great Jennifer Connelly likewise turns in a subdued but devastatingly effective performance. And Kiefer Sutherland steals his every scene in what might be his most against-type role. And it’s not just the headliners. The whole supporting cast adds complex narrative threads to the film’s tapestry.
Visually, Dark City boasts stunning art direction and meticulously crafted sets. The ever-shifting cityscape reflects the inner turmoil of its inhabitants. It helps that the production design, costumes, and cinematography are all masterful. These elements harmonize to create a tangible sense of unease and wonder. Every frame evokes a sense of dreamlike disorientation that matches the film’s themes.
While the Matrix trilogy revolutionized visual effects and action sequences, Dark City opts for a more restrained approach, emphasizing the psychological and emotional states of its characters. Its action sequences are stylized and intense, but they serve the narrative rather than overpowering it.
The film’s true strength lies in its ability to immerse viewers in a world where perception is reality. And it challenges their preconceived notions of reality just as well as The Matrix.
Furthermore, Dark City stands out as a triumph of storytelling and atmosphere. Its narrative unfolds like a dark symphony with intricate themes of memory, identity, and the search for truth. The film’s pacing is deliberate, allowing audiences to immerse themselves in the eerie world it presents.
In contrast to the Matrix trilogy, Dark City maintains a consistent tone throughout its runtime. It doesn’t deviate into convoluted subplots or unnecessary world building. Instead, it remains laser-focused on its central themes, creating a greater sense of coherence. The film’s exploration of the power of the mind and the meaning of humanity lingers long after the screen fades to black.
That tonal difference carries over into the audio realm. Dark City boasts a haunting and atmospheric score by Trevor Jones. In refreshing counterpoint to The Matrix’s Ground Zero nuMetal soundtrack, Dark City’s music is atmospheric and timeless, accentuating the film’s sense of unease and mystery. It complements the visual elements to perfection, elevating the film to a work of art that engages the intellect and the emotions.
Another aspect that makes Dark City the best Matrix movie is its conclusion. While the Matrix trilogy is saddled with a resolution more convoluted than pieces from 5 different thousand-piece jigsaw puzzles in a ticket tumbler, Dark City offers a poignant ending that satisfies thematically.
And instead of kit bashing Arthurian legend, Nietzsche, and Gnosticism, Dark City’s finale presents the victory of love over manipulation and coercion. It leaves the audience with a sense of awe that invites contemplation of the good, the true, and the beautiful. In our propagandized, micromanaged age, we need that kind of art more than ever.
In retrospect, Dark City deserves recognition as a groundbreaking film that explores similar philosophical territory to the Matrix trilogy but with greater internal consistency and a superversive ending. Its fusion of noir aesthetics, existential themes, and psychological introspection creates a thought-provoking cinematic experience that maintains the fun factor.
While the Matrix trilogy made a lasting mark on the sci fi genre, Dark City stands as an underappreciated gem that surpasses the former in terms of narrative coherence, visual artistry, and emotional resonance. It tests the boundaries of reality and prompts audiences to question the nature of their own existence It’s a cinematic masterpiece that keeps your gears turning long after the credits roll.
So if you want to see the best Matrix movie, watch Dark City. You’ll be treated to a mesmerizing blend of atmospheric visuals supporting a compelling narrative with real philosophical depth. It’s a film that deserves recognition as a masterwork of science fiction cinema.
I set out to bring a similar fun-and-philosophy balance to my epic mech saga.
I could be wrong, but I believe that a number of the sets from Dark City were actually used in the original Matrix
Big if true.
The only thing I’ve ever disliked about this movie was that every poster and cover gives too much away.
That aside, I’ve always considered this the anti-Matrix more than a clone or an also-ran (of which it is clearly neither) in how it does not worship Gnosticism. In fact, at no point is the world itself truly artificial in the strictest sense, but merely a piece of a grander puzzle just waiting to be discovered and added onto.
The Matrix might have epitomized the Cultural Ground Zero zeitgeist in just about every way, but Dark City instead has a far more timeless and classical approach. I could even see this movie being done in black and white and working almost as well, honestly.
I’m glad it has received a greater reappraisal and appreciation in recent years. It is up there with Heat, Ghost and the Darkness, and Tombstone, as some of the best movies of the 1990s.
You place it in august company.
And yes, a black and white version would be awesome.
You’re making me feel as though it’s a crime that I’ve never heard of this film before. I will have to go watch it…
That is correct.
It’s hard for me to enjoy the Matrix given how the Wachowski brothers and RATM feel about the film’s audience.
Amen to that.
If Dark City is the best Matrix movie, and Galaxy Quest is among the best Star Trek movies, which non Star Wars movie is the best Star Wars?
Honestly? The first Guardians of the Galaxy movie. Otherwise, the original Flash Gordon serials of the 1930s.
The first Guardians of the Galaxy movie is the best Farscape movie (or if you want to go further back, the best Blake’s 7 movie.)
This is one that has been on my to-watch list for *checks calendar* over 20 years.
My uncle had a video store back in the golden era of such things (I wrote about it here: https://alexanderhellene.substack.com/p/the-video-shop). When Dark City became available for rental, he told me that it was one of the coolest movies he’d ever seen, and he would not tell me anything else about it. Flash forward to now, and I still haven’t seen it.
Must rectify this weekend.
“The coolest movie ever” is the comment that keeps coming up in regard to this film.
Can’t wait to hear what you think!
I got Dark City on DVD used, and it came with a web printout from 2002 detailing how to access the disk’s most hidden Easter Egg. Since the site it was printed from no longer exists, I repeat it here for posterity:
-Select the “go to shell beach” menu to start the process
-Select the bloody knife on Kiefer Sutherland’s biography
-Click the doctor’s card in “Neil Gaiman on Dark City”
-Select the postcard on the “Original Weekly Variety Review” under “The Metropolis Comparison”
-Select the shell beach souvenir on the tenth page of Trevor Jones’s biography
-Select the clock on the eighth page of William Hurt’s biography
-Select the syringe in “Set design”
Enjoy a crude 15 second animation!
Thank you!