Arrow Video’s ‘Dark City’ 4K Re-Issue Is A “Bright Spot” Among 2025’s Top Movie Re-Issues

BY: PHILIP SAYBLACK

Nearly thirty years ago when it made its theatrical debut, New Line Cinema’s Dark City proved to be anything but a success.  In the roughly 27 years since then though, the movie has gone on to be a cult classic.  That is because it is so much unlike so much of what studios have offered since.  It is one of those standalone movies that simply cannot lead to any cash grab sequels and it is also a deeply thoughtful work.  Now later this month, fans’ devotion to the movie will be rewarded with a new 4K re-issue of the movie courtesy of Arrow Video.  Set for release June 24, the forthcoming re-issue will engage and entertain rh movie’s original audiences just as much as new viewers.  This is due in no small part to its featured story.  The look and sound of the movie in its new re-issue also play into that appeal.  That is because it shows the attention to detail put into the movie’s restoration.  The bonus content that accompanies the movie in its forthcoming re-issue puts the finishing touch to the whole.  Each item noted is important in its own way to the whole of Dark City’s upcoming re-release.  All things considered they make Arrow Video’s re-issue of this underdog of a movie a work that true cinephiles will appreciate.
Arrow Video’s forthcoming 4k re-issue of New Line Cinema’s Dark City is a must see for the most devoted of the movie’s fans and for any true lover and student of film.  That is due in no small part to the movie’s story.  The story in question is a unique hybrid noir/science fiction work that also blends elements of action and thriller flicks.  Even with so much going on, it still manages to all work surprisingly well.  Getting back on track, the story follows its lead, John Murdock (Rufus Sewell – A Knight’s Tale, The Illusionist, Tristan + Isolde) as he is pursued over the murder of a group of prostitutes.  The problem is that he does not remember any of the murders.  This leads him to discover a group of black-clad figures who are remaking the city every night and at the same time, changing people’s memories.  He eventually discovers that the figures in question are parasitic aliens whose species is dying.  They have abducted thousands of humans (seemingly from Earth) to try and figure out what makes them “human” in hopes of surviving themselves. 
Along the way, John is forced to start wondering about existence itself and what or who controls human experience, etc.  He even discusses this briefly as he is being held by police and is talking to his wife, Emma (Jennifer Connoly – The Rocketeer, House of Sand and Fog, A Beautiful Mind).  This moment of philosophy confirms what many audiences eventually start thinking at one point or another throughout the movie, and that adds even more appreciation for the story.  Speaking of that philosophical discussion, it is further confirmed in the movie’s new bonus content, which will be addressed later.  The existentialist discussion eventually reaches its head in the movie’s final scene, in which John comes to realize the control that he has over his existence, his fate.  This expansive, in-depth discussion presented as part of the bigger story is to be applauded.  That is because writer/director Alex Proyas, along with fellow writers David S. Goyer (Blade, Batman Begins, The Dark Knight) and Lem Dobbs (Lee, Kafka, The Limey) do not allow this deeper discussion to overpower the action of this unique noir/sci-fi tale.  The balance therein of those elements makes the story fully immersive for those viewers whose minds are open enough to take in the presentation.  To that end, the story presented herein establishes a solid foundation for Dark City.
Building on that foundation is the movie’s look and sound.  This is extremely important considering how much of the movie takes place in…well…the dark. A s is eventually revealed along the way, the movie takes place in the dark because the “strangers” are averse to the light, which is why no one there ever sees the sun.  The black lighting, that overall darkness, was handled expertly in the movie’s restoration.  Even being so dark throughout the lighting has been tuned so that every scene is still visible enough.  On the surface that might not seem like much, but take for instance the 2024 re-issue of the classic sci-fi flick, The War of the Worlds.  Much of the first act takes place at night.  The black levels were not adjusted in the 4K re-issue, so those early scenes are nigh impossible to watch.  That is because almost nothing can be seen.  Those scenes are that dark.  Thankfully, again, that did not happen here.  As a result, the look of the movie in its new restoration is certain to appeal widely to audiences.
On a side note, the audio is largely just as impressive as the visual presentation.  However, there are some moments throughout the movie in which the audio seems to cut out for a very brief moment.  Hopefully this is only the case with the pre-production copy that Arrow Video sent to this critic.  Otherwise, it could potentially be more widespread.  If that is the case then other audiences will clearly hear these momentary audio cutouts.  It is hardly enough to doom the presentation, but is still something of an issue that hopefully will not affect the final production copies of the movie.
Knowing the positive of the movie’s look in its new presentation and that the audio issues are not too widespread throughout the movie, there is one more definite positive to note of this re-issue.  It is the new bonus content that accompanies the movie.  There are three new additions to the movie in regard to its bonus content, the most expansive being the hour-long feature, “Return To Dark City.”  This retrospective is a brand-new presentation for this release and features interviews with Proyas, Dobbs, and Goyer, as well as Sewell, production designer Patrick Tatopolous, and costume designer Liz Keogh Palmer.  One of the most interesting revelations made by Proyas is that the idea for Dark City first came to him as the result of a nightmare involving dark figures moving things around in his room when he was much younger.  That sounds wild on the surface, but many who study paranormal science would definitely have something else to say.  To that end, this revelation is enlightening in itself.
Another interesting note in this expansive discussion is that of how studios all essentially turned up their noses at Proyas’ script; that is until another dark movie came along called The Crow.  The whole discussion will be left for viewers to hear for themselves, but it is believable considering how movie studios just follow trends rather than look for originality to this day.  It must have been infuriating for Proyas to shop his script around so much and be turned down so much.
While everything noted is engaging and entertaining in itself, it is Sewell’s own comments that bring some of the most notable depth to this bonus feature.  Sewell is clearly genuine as he talks about how the script’s tie to specific European movie styles drew him to the movie.  His demonstrated knowledge and training in film theory and studies is impressive and makes his own performance throughout the movie all the more believable.  That is because it is clear he really did care about what he was doing. 
Additionally, Sewell notes along with others how the practical effects used throughout the movie were at the time real, not CG.  The sets, Sewell notes, were actual, moving sets.  They were not made by computers.  The discussions that stem there from are fully engaging in their own right.  That is because they serve as a reminder that it was and still is possible to make movies sans special effects and that it is disappointing that so many studios rely so heavily on CG ever since the advent of said technology.
Examining another of the new extras, Josh Nelson’s visual essay, “I’m As Much In The Dark As You” expands on the previously noted discussion of existentialism throughout the movie’s script.  Clocking in at roughly 20 minutes, Nelson discusses how John’s journey is not just that of defeating the aliens, but more so an allegory of our personal journey of self- realization.  He discusses how the use of light and dark in the movie even plays into that examination, as well as so much more.  This is the stuff of so many film theory and studies classes that is certain to engage said students.  It adds that next layer of appreciation to the movie in its new presentation.
One other essay, that from film critic Alexandra West titled “Rats in a Maze” takes on another aspect of the movie, that of how the city is set up like a maze and how that ties in to the doctor’s own maze that is used for a lab rat earlier in the movie.  That extensive discussion is of its own interest and is sure to appeal to students of philosophy.  When this extra is considered along with that of Nelson and the even wider reaching “Return to Dark City,” the whole of those three new extras more than gives audiences more to appreciate.  When the overall presentation therein is considered along with the movie’s story and its production this time out, the whole therein makes this new presentation of Dark City one of this year’s top new movie re-issues.
Arrow Video’s forthcoming 4K re-issue of New Line Cinema’s Dark City is one of the most welcome home movie and television releases so far this year.  On the same note, it is also among the year’s top new movie re-issues.  Its success is due in no small part to its featured story, which is one part hybrid science fiction/noir work that also incorporates a deep existentialist allegory.  The allegory thankfully does not overpower the bigger story, but rather balances in with those other elements to make the whole fully engaging and entertaining.  The movie’s production in its new re-issue is also part of its success.  The video quality is impressive, what with the whole thing taking part in the dark.  Clearly the black levels were edited ahead of its release to make every scene visible.  This is an issue that has plagued re-issues from other studios, including none other than the recent re-issues of The Crow and the original The War of the Worlds.  Keeping that in mind, those responsible for restoring the film and making it visible in the process are to be commended for their work.  The audio is just as impressive for the most part, despite some minor concerns here and there with the audio cutting out very briefly.  The trio of new bonuses included in the director’s cut puts the finishing touch to the re-issue.  That is because of the background and insight that they bring to the viewing experience, and there is a lot to be had, too.  Each item examined is important in its own way to the whole of this re-issue.  All things considered they make Arrow Video’s forthcoming 4K re-issue of Dark City a bright spot among this year’s new movie re-issues and movie and television releases.
Arrow Video’s 4K re-issue of Dark City is scheduled for release June 24.  More information on this and other titles from Arrow Video is available at:
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