DARKMAN (1990)

Over three decades before director Sam Raimi would mix a horror-esque tone with a superhero movie’s plot structure in DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (2022), he made his mainstream debut with DARKMAN (1990), his original take on a superhero narrative.

DARKMAN is a fantastic example of the ‘90s superhero movie era and a successful test run for Raimi’s Spider-Man trilogy. DARKMAN follows Peyton Westlake (Liam Neeson), a scientist developing a revolutionary synthetic skin treatment who is viciously attacked by mobster Robert G. Durant (Larry Drake), sent there to retrieve a document left by Westlake’s lawyer girlfriend Julie (Frances McDormand). After an experimental procedure leaves him emotionally unstable and with great strength, the deformed Westlake uses his synthetic skin masks to get horrific revenge against Durant.

DARKMAN creates a uniquely cinematic superhero by invoking the gothic atmosphere that was present in Universal’s ‘30s/‘40s horror films (Tony Gardner’s makeup work is very reminiscent of the Phantom of The Opera and The Invisible Man). Raimi’s wild vision, expressed through creative shots and nice compositing work, is why the film is a really engaging superhero origin story. It's impressive how DARKMAN is so clearly drenched in Raimi’s style, so early in his mainstream career. Raimi’s eye for a gothic vibe extends to production designer Randy Ser’s grimy set design and nice wide shots of Westlake’s lair by cinematographer Bill Pope. Not to mention Elfman’s perfectly operatic main theme. Elfman’s score strongly embraces the gothic vibe by sounding more like music from a gothic horror film than a superhero film.

DARKMAN proves Neeson has always been great in action films, and this was actually one of his first leading roles. It’s a shame Neeson avoids more eccentric and over-the-top parts now, as his turn as Westlake really excels, superbly carrying the entire film. Westlake’s tragedy is effectively compounded by scenes where he is completely alone in his condemned “home” (“See the dancing freak! Pay five bucks to see the dancing freak!”), making the film feel like a one-man show between the scenes revealing Westlake’s revenge plan. The scenes starting from when Westlake escapes from the hospital to when he creates his own literal face mask to see Julie again are probably Neeson’s strongest work in the film.

These scenes demonstrate what the studio was thinking when they refused to allow Raimi to cast Bruce Campbell as Westlake. While the film’s dialogue and staging of scenes make it no secret that Campbell was supposed to play Westlake, Neeson’s approach really enhances the material and the severity of Westlake’s circumstances. In the finished film, Campbell’s in-joke cameo and ADR vocals are fun instances of what could’ve been.

Besides Neeson, DARKMAN’s most layered performance is easily Drake as Durant. It’s extremely fascinating how Drake acts in two different modes as Durant: cold with a piercing look when dealing with mobsters and other criminals to loud and wide-eyed when fighting Westlake. Raimi’s little character-building moments with Durant are also interesting like his implied romantic feelings for Rick (Ted Raimi), his collection of severed fingers and his military medals at his large home. Durant’s implied military service is further alluded to when he suddenly knows how to use a grenade launcher while hunting Westlake in a helicopter. Looking at Drake’s performance, it’s no wonder why nearly every continuation brought back Durant in some way to fight Westlake once again.

DARKMAN received multiple direct-to-video sequels named DARKMAN II: THE RETURN OF DURANT (1995) and DARKMAN III: DIE DARKMAN DIE (1996) (with Arnold Vosloo taking over for Neeson as Westlake in both films), along with comics and novels continuing Westlake’s story. An unaired television pilot was also made, but wasn’t picked up by a network. Ever since I first watched the film, it always bugged me that a true sequel, with Neeson reprising his role as Westlake, never happened over these 30 years.

Now that we’re in the 2020s, a decade where ‘90s nostalgia is starting to usurp ‘80s nostalgia in popularity, it’s definitely time for DARKMAN to get a true legacy sequel. Preferably, one that ignores the direct-to-video sequels and reveals Westlake’s status decades later. The director of WEREWOLVES WITHIN (2021), Josh Ruben, has been campaigning to direct a sequel if Raimi doesn’t return. There are many avenues the filmmakers can go, like Westlake fighting a corrupt police force, since a line from Strack (Colin Friel) in the original insinuates they could be corrupt.

Alternatively, the filmmakers could go for a more audience-friendly route like a reporter trying to find out what happened to Westlake in the past decades. It’d be a good opportunity to establish some worldbuilding regarding the city Westlake lives in and whether it’s meant to be Los Angeles (as in where they filmed) or its own fictional city. A sequel could also explore more outlandish villains Westlake goes up against, maybe even ones inspired by Universal monsters like him.

DARKMAN was only a modest success when it was released, this medium-sized level of interest could be a factor in whether general audiences are interested in a belated follow-up. One of the bigger roadblocks for a legacy sequel would be Neeson’s willingness to return in his older age to the role and all the heavy prosthetics it requires. Neeson did tease his return by saying he’d like to see the script for one. In a time where Neeson is still doing roles that are similar to Bryan Mills from TAKEN (2008), reprising Westlake could be a good change of pace for him.

Considering her mixed thoughts on her experience working on DARKMAN, Frances McDormand’s return to play Julie might be up in the air. Though, a sequel could further develop Julie’s characterization. Based on the potential of McDormand’s involvement and the original’s plot, a sequel would need a nearly-brand new cast to support the returning Neeson as Westlake. Having a nearly all-new cast could work in the sequel’s favor to emphasize how the city has changed since Westlake foiled Strack’s plans.

Regardless, if it finally comes into fruition or not, the interest in a legacy sequel to DARKMAN really speaks to the original film’s power in being an extremely entertaining superhero adventure and a nice showcase of Raimi’s directorial talents and Neeson’s acting ability. In a grand ranking of Raimi’s filmography, I’d definitely rank it close to his Evil Dead and Spider-Man trilogies. Considering how Neeson’s career would skyrocket later in the ‘90s, with roles in SCHINDLER’S LIST (1993) and STAR WARS EPISODE I: THE PHANTOM MENACE (1999), DARKMAN’s moderate success meant enough eyeballs were impacted by witnessing the gleeful insanity of Neeson’s performance.

Ultimately, DARKMAN is perhaps one of the worthiest of ‘90s genre cinema to potentially receive a legacy sequel someday.