Greetings again from the darkness. The true story of Edward abdicating the British crown for the love of his life transcends romance or history. It is even more interesting than the story of his brother’s reign in his place … as documented by Oscar winner The King’s Speech. To think this man surrendered the power that comes with being King, lost his family, and was outcast from his beloved country, all because he chose this woman … well that’s what dreams are made of.
This particular presentation is brought to us by director Madonna, who also co-wrote the script with Alek Keshishiam (the director of Madonna: Truth or Dare, 1991). An attempt is made to correlate a modern story featuring a Wallis-and-Edward-obsessed Abbie Cornish, and a Russian security guard played by Oscar Isaac. This feeble story line intertwines with the original story of Wallis Simpson and Edward. Guess which story is WAY more interesting than the other? Despite that, much screen time is wasted on Cornish and Isaac.
Andrea Roseborough is outstanding as Wallis, the American twice-divorced spirited woman that Edward (James D’Arcy) falls so hard for. The only issue I had was that her speech pattern and tone reminded me of Rosalind Russell every time she spouted off another tart line of dialogue. Still, the sparks were evident between between these two, despite the sometimes horrendous camera work. Which leads me to the biggest problem … this is a horrendously made film and it doesn’t come close to doing justice to such an intriguing true life story.
On the bright side, I found both the film score and the costumes to be spot on, and of the highest quality.
SEE THIS MOVIE IF: you are mentally strong enough to overlook the modern day story that muddies the water of the far more interesting historical romance.
SKIP THIS MOVIE IF: you bet the odds that Madonna would become a first rate movie director.
Greetings again from the darkness. This one showed up near the finish line of the classic Film Noir era, and has some features that make it stand out: unusual female characters, a quasi-parody feel, and a twisty ending unlike others from the genre. Based loosely on the Mickey Spillane pulp novel, the screenplay comes from A.I. Bezzerides, who is best known as the creator of the TV series “The Big Valley”. The biggest impact comes from director Robert Aldrich.
Aldrich (pictured below) is a bit under-appreciated in Hollywood history having also directed Whatever Happened to Baby Jane; Hush, Hush, Sweet Charlotte; The Dirty Dozen; and The Longest Yard (the good one). Here he turns up the intensity on the Private Investigator story by having Mike Hammer (a terrific Ralph Meeker) be quite a bit more forceful and aggressive than Marlowe, Spade and the other famous movie PI’s.
The film starts quite abruptly with one of the more fascinating beginnings in all of cinema. A panicky woman is running barefoot down a highway at night, wearing nothing but a bathrobe. That woman is Cloris Leachman (her screen debut) and she nearly causes Hammer to wreck his pristine Jaguar. Their relationship doesn’t end well, but it leads to a very unique torture scene that is almost entirely out the viewer’s sight line. Still, we quickly realize Hammer is in some deep trouble and he’s not the kind to let it be.
Two other very interesting female characters are part of the story: Gaby Rodgers plays Lily Carver as a conniving trickster, and Maxine Cooper (pictured below with Meeker) is outstanding as Velda, Hammer’s trusty assistant and maybe more. Ms. Rodgers and Ms. Cooper have other common ground. They soon disappeared from Hollywood films as both married powerful men in the business. Rodgers married the famous songwriter Jerry Lieber, who wrote many Elvis Presley hits. and Cooper married an Oscar nominated writer, Sy Gomberg.
The cast features many prominent and recognizable actors of the time including Albert Dekker, Paul Stewart, Wesley Addy, Nick Dennis, Jack Elam, and Jack Lambert. There is also a Butch Cassidy and the Sundance Kid connection. Strother Martin has a brief scene as does Percy Helton (as the Medical Examiner). In the Butch Cassidy movie, Martin is the colorful Bolivian payroll supervisor who hires the boys, and Helton is “Sweetface” who gives away their hiding place. Another note on Helton: he had one of the longest acting careers in history 1915-1978 (which was 7 years after his death).
If you love films from the 40’s and 50’s, then this is a must see. It certainly has a place in Film Noir lore (say that three times quickly), and also has numerous other points of interest. Keep in mind that it was filmed at the height of the Atomic Bomb era … when scare tactics were the norm.
Greetings again from the darkness. Dirty cops happen in real life sometimes, and in the movies quite often. It can be an intriguing subject to explore … psychological demons, ego, power-mongering, etc. Typically we see it presented as a cop torn between doing the right thing and feeling like he is owed something. Rarely do we see a cop portrayed as beyond hope … so far gone morally that redemption is no longer even a possibility.
Writer James Ellroy (LA Confidential) and director Oren Moverman (The Messenger) present to us Officer Dave Brown, known to his fellow cops (and even his daughter) as “Date Rape” Dave. The moniker stems from a vice incident where Brown supposedly dished out street justice to a serial date rapist. With no proof of his guilt, Brown remained on the force and his rogue manner has now escalated to the point where he is a constant danger to himself and others. This guy has no moral filter for everyday living.
Officer Brown is played with searing intensity by a Woody Harrelson you have never before seen. As loathsome a character as you will ever find, you cannot take your eyes off of him. He is hated by EVERYONE! Somehow he has daughters by his two ex-wives (who are sisters) and they all live together in a messed up commune where ‘hate’ is the secret word of the day, every day. Most of the time no one speaks to Dave except to tell him to “get out”. He spends his off hours drinking, smoking, doing drugs and having meaningless sex. Heck, that’s just about how he spends his time while on duty as well. Dave’s behavior and the theme of the movie seem to be explained in a scene when he tells the IA Detective (Ice Cube) that he is not a racist because a he hates “all people equally“.
The supporting cast is phenomenal, though most aren’t given but a scene or two. This includes Robin Wright (who nearly matches Dave in the tortured soul department), Sigourney Weaver, Anne Heche, Cynthia Nixon, Ned Beatty, Ben Foster, Ice Cube, and Steve Buscemi. The first hour feels like an Actor’s Retreat as most every scene introduces another familiar face.
Still, as terrific as Harrelson is, and as deep as the cast is, the film is just too one note and downbeat and hopeless to captivate most viewers. Some of Moverman’s camera work is quite distracting and the sex club scene was pure overkill and unnecessary. Downward spiral is much too neutral a term to describe this character’s path and ultimately, that prevents the film from delivering any type of message. Harrelson had been mentioned as a possible Oscar candidate, but it would not be surprising if the film itself worked to his detriment.
SEE THIS MOVIE IF: you want to see a fantastic performance by Woody HarrelsonOR you are just looking for a way to kill that pesky feeling of joy that’s been following you around lately
SKIP THIS MOVIE IF: you need to like at least one character in a movie
Greetings again from the darkness. This one finally made it to Dallas and it’s now clear why it is not only the Oscar favorite for Best Foreign Language Film, but also received a Best Original Screenplay nomination. It’s truly that good … and powerful … and thought provoking. I caught myself changing my mind more than once on some of the issues these characters faced.
The film opens with Nader and Simin (Peyman Moadi and Leila Hatami) in front of a judge to determine if they will be granted a divorce. Simin wants to take their daughter Termeh (Sarina Farhadi, the director’s daughter) to study abroad. Nader doesn’t disagree with the plan, only the timing. He refuses to leave his Dad, who suffers from Alzheimer’s, alone in Iran. In a poignant moment, Nader points out that while his dad may not know him, he still certainly knows his dad. This is the first of a recurring theme throughout … there are numerous ways to look at every issue.
When Simin moves in with her mother, Nader hires Razieh (Sareh Bayat) to be his dad’s caregiver. After a few days, Nader and Razieh have a heated argument and he pushes her out of the apartment. Next thing he knows, she is in the hospital after a miscarriage. She and her husband (Shahab Hosseini) file a claim saying Nader pushed her down the stairs causing the miscarriage. The core of the story is the actions of the key characters during the inquisition process by the judge/inspector. Nothing seems clear cut, and each character’s recall and statements vary from moment to moment.
A key point is that these are all basically good and moral people. Muslim believers in various stages. None would purposefully sin, yet each is trying to protect something or someone. The script is fascinating in its detail and subtlety. It moves like real life rather than a movie trying to get crammed into a 2 hour window. Written and directed by Asghar Farhadi, the film deserves all accolades and acclaim. Let’s hope it finds an audience in the U.S. We could certainly use more stories and films like this. My reasoning for keeping my comments short here is that I believe this movie is most effective when one can watch this movie with few pre-conceived notions. Let your mind follow its own path.
SEE THIS MOVIE IF: if you want to see one of the best films of 2011 OR you would like an example of superb and complex screenwriting
SKIP THIS MOVIE: if you prefer movies that don’t require you to engage the decision-making part of your brain (this one keeps you working!)
Greetings again from the darkness. We are accustomed to movies with men posing as women for comedic effect … Mrs. Doubtfire and Tootsie come to mind. Watching an extremely serious, even bleak, film with a woman (Glenn Close) posing as a man is quite rare, and I will say, downright uncomfortable. When Albert Nobbs is described by his co-workers as a strange little man, they have no idea!
The film is based on a novella by George Moore, and has been a pet project of Glenn Close since she starred in the off-Broadway play in the 1980’s. Her dream has been realized in this film directed by Rodrigo Garcia. The film has an extremely talented cast including Brendan Gleeson as a doctor, Bronagh Gallagher as Mrs Page, Mia Wasikowska, Aaron Johnson and Brenda Fricker as hotel staff, Pauline Collins as the hotel proprietor, and Jonathan Rhys Meyers as a frequent hotel guest. The song over the closing credits (co-written by Ms. Close) is sung by Sinead O’Connor.
Beyond that fabulous cast, the only thing that really makes the film worth watching is the curious performance of Ms. Close as Albert Nobbs and the much more colorful and lively turn by Janet McTeer as Mr. Page … the only one (we know of) who can understand what Albert is going through. Both are nominated for Oscars. During the film, we get the personal story from each of these characters on why they made their choice, but Albert’s story is a bit muddled. He/she seems to have just fallen into the life and been unable to stop for the past 30 years. Now, Albert has a dream that can only be achieved through the wages earned as the non-descript, efficient waiter in an 1890’s Dublin hotel.
There are many painful scenes to watch, but none moreso than Albert courting Helen so that he can have a partner for his new business. He has no idea how a real relationship works or why people are attracted to each other. Albert just sees Helen as a means to an end, and is following the blueprint set by Mr. Page. Some will enjoy this much more than I, as the thought of pretending to be someone you aren’t for 3 decades is just more than I can even comprehend. When Gleeson’s doctor spouts that he has no reason why people choose to lead such miserable lives, I concur whole-heartedly.
SEE THIS MOVIE IF: you want to see how little joy would be had spending one’s life pretending to be someone else OR you don’t want to miss two Oscar-caliber performances (Close, McTeer)
SKIP THIS MOVIE IF: misery in 1890’s Dublin holds no more interest for you than misery in any other era or locale
Greetings again from the darkness. Ten years since the September 11 attack, and it’s still difficult to talk about, write about, or make a movie about … and certainly difficult to critique any of those attempts. Since I haven’t read the novel by Jonathan Safran Foer (who also wrote “Everything is Illuminated”), my comments will be related only to this film directed by Stephen Daldry (The Hours, The Reader) and the script by Eric Roth (Forrest Gump, The Curious Case of Benjamin Button).
Two positive things stand out for me in the film. Young Thomas Horn as Oskar Schell is an interesting and talented newcomer, and someone I enjoyed watching on screen for most of two hours. Approximately 70 years his senior, Max von Sydow is captivating as the speechless “Renter” from Oskar’s grandmother’s apartment. The two are quite an entertaining pairing on their road-trip through NYC.
The basic story is that Oskar’s father (Tom Hanks) is one of the victims of the WTC attacks. Through flashbacks we see that he was a world-class father to Oskar, who may very well be inflicted with Asperger’s Syndrome. Either way, Oskar is intelligent way beyond his years and possesses quite a curious and analytical mind. When his father dies, Oskar is convinced he can make sense of things by finding the lock that fits a key he found in his father’s closet. He assumes it’s another puzzle his father laid out for him with the only clue being “Black” written on the envelope.
While it is interesting to see how Oskar organizes his mission of contacting the 472 Black’s noted in the NYC phone book, it seems mostly a writing trick to get this unusual youngster mingling with “normal” citizens. When he teams with von Sydow, the energy level picks up, but we can still feel the wheels turning on the machinery to create tear-inducing moments. These moments are EVERYWHERE and include Oskar being oblivious to his hurtful ways with his mom (Sandra Bullock).
The support work is excellent and includes John Goodman, Viola Davis and Jeffrey Wright. Young Mr. Horn is best known for his winning Jeopardy during “Kid’s Week”, so he is obviously real-life smart as well as on screen talented. This story is just too preposterous to take seriously. How many parents would let their 11 year old wander the streets of NYC? What reaction would this kid receive as he confronts strangers while jingling his tambourine so as to calm his nerves? Just too much melodramatic storybook stretching to make this a story worth telling in regards to the September 11 events. However, if you are need of a few good cries, this one tees it up for you.
SEE THIS MOVIE IF: you want to see an exciting newcomer in Thomas Horn OR it’s just been too long since you had a good cry (or 3 or 4)
SKIP THIS MOVIE IF: you prefer movie/story manipulations not be quite so obvious
Greetings again from the darkness. This film was nominated for seven Academy Awards (no wins), including Best Picture. Watching it today, it seems clear that the courtroom scene with Humphrey Bogart in the chair as Lt. Cmdr. Queeg drove this film to the heights it reached. That few minutes is as powerful as anything Bogart ever did on screen. Unfortunately, he would pass away (esophagal cancer) less than three years later.
The first part of the film is solid enough as we meet newly graduated (mama’s boy) Ensign Willie Keith (Robert Francis). His first Navy assignment is aboard a minesweeper (junkyard Navy) and the veteran officers quickly note his disappointment at not being stationed on a more prestigious carrier. Those veteran officers are played by quite a list of actors: Van Johnson plays no-nonsense Lt. Steve Maryk, Fred MacMurray plays the cynical wannabe novelist Lt. Tom Keefer, and Tom Tully plays Cmdr. DeVriess, who irritates young Willie with his laid back approach to command. We also see Lee Marvin and Claude Akins as part of the ship’s rag-tag crew.
A shift occurs once Queeg replaces DeVriess. Queeg brings a tough old school Navy approach to the ship and is easily thrown by the sight of an untucked shirt. Over a short amount of time, the officers begin taking note of the odd behavior of Queeg. MacMurray’s character acts as an armchair psychologist, and more importantly, an instigator for the other officers. He is convinced Queeg is unstable and unfit for duty. The climax occurs during a typhoon and Lt Maryk (Johnson) takes the abrupt step of relieving Queeg of his duties … an action that’s never actually occurred aboard a Naval ship.
Soon Maryk and Willie are brought up on charges of mutiny. At about the 90 minute mark, their attorney makes his first appearance. Jose Ferrer plays Lt. Greenwald, the only naval attorney who would take the case against the highly decorated Commander. Watching Queeg (Bogart) on the stand is just about as good as acting gets. Ferrer is exceptional as well.
This film is about the character of men and their reactions to situations in which they are trained to act otherwise. It’s based on the Pulitzer Prize winning WWII novel by Herman Wouk, and the screenplay is by Stanley Roberts. The film is directed by Edward Dmytryk, who you may know as one of the “Hollywood Ten”. Dmytryk spent time in prison for his lack of cooperation with HUAC, and his previous involvement with the communist party. The score is outstanding and was composed by the famous Max Steiner, who was also responsible for a couple of other films you may have seen: Casablanca and Gone with the Wind. It should also be noted that this was the second of five total films made by Robert Francis (Ens Willie Keith) and the 25 year old up-and-coming actor was killed in a plane crash the year after this film was made.
*note – Edward Dmytryk retired from filmmaking and for a few years taught film theory at the University of Texas. I was fortunate enough to be a student in a couple of his classes. His insight was remarkable.
*note – an aspiring young actor named Maurice Micklewhite was so inspired by the movie and Bogart that he changed his name to … Michael Caine
*note – pay special attention to the number of ticks/quirks that Queeg display (his use of Chinese Baoding Balls for stress, his use “K” as a form of communication, his facial contorts in moments of indecision, etc)
here is the original trailer (the volume level is very low):
Greetings again from the darkness. Four strong actors in one upper crust Manhattan condo for 79 minutes is a good first step. A script adapted by the director Roman Polanski and the original playwright Yasmina Reza makes for a strong second step. So why isn’t this film more effective? The belief here is that this one simply works better as a play. That’s not to say the dialogue and flow aren’t impressive, it’s just that as a viewer, we are distracted by the look and feel of a play being presented on screen rather than live on stage.
The story opens with four well-groomed adults huddled around a computer putting the finishing touches on a joint statement regarding a playground incident between their two 11 year old sons. The Longstreet’s (Jodie Foster, John C Reilly) son ended up getting whacked in the face with a stick by the Cowan’s (Kate Winslet, Christoph Waltz) son. We witness the incident from a distance over the opening credits, totally oblivious to the spoken words from the boys involved.
After one minor compromise on wording, the statement is complete and the Cowan’s move to make a graceful exit from the Longstreet’s home. Instead, we get the first of four or five “almost” escapes as one after another particularly irksome claim or accusation is made by one of the participants, and the war of words moves back inside. The genius of the story comes from watching the gradual dismantling of social graces as these four people work through the full spectrum of human emotions related to, not just their son’s actions, but also the words and actions of each other. Think of it as an updated yuppie version of Who’s Afraid of Virginia Woolf?
We see homemade cobbler transition to coffee and finally to whiskey. Each change coincides with personality changes and a constant shifting of alliances within the group. These are four normally civilized people play-acting like this emotional topic can be handled without emotion. One particular occurrence is quite off-putting for both the viewer and our on screen party of four. It creates quite a mess on the coffee table, and immediately intensifies the level of apologizing and philosophizing.
There are at least three interesting social commentaries being made here. First, parents tend to defend their own children no matter the situation. Second, today’s parents mistakenly believe that 11 year olds should behave like mature adults. They have forgotten that social and coping skills are learned through playground disputes. Third, no matter how educated or well-mannered we show on the outside, we all have the need and desire to be respected and deemed correct in our judgments.
You may not learn a great deal from this one, but I bet you find yourself paying particular attention to your own debate strategy the next time you are in a social environment. It is certainly a treat to watch four standout actors having such a good time with words.
SEE THIS MOVIE IF: you want to see adults arguing like teenagers while pretending to be acting like adults.
SKIP THIS MOVIE IF: a harsh dose of human nature is not why you head to the movies.
Greetings again from the darkness. So many are up in arms about what this movie isn’t, that they have lost sight of what it is. If you are expecting a political drama and biography detailing the finer points of one of the most impactful and controversial world leaders in history, you will undoubtedly be disappointed. If instead, you accept this as a creative way to tell a story and glimpse at a once powerful person struggling with her place in history, while simultaneously fighting the daily battle against Alzheimer’s, then you too will be satisfied with more than the towering performance of Meryl Streep as Margaret Thatcher.
Lady Thatcher is one of most controversial political figures in modern history. Pundits fall to pro or con in regards to her 3 terms (11 years) as British Prime Minister. Writer Abi Morgan (Shame) and director Phyllida Lloyd(Mamma Mia) don’t take a side in the argument. Instead they offer us the viewpoint of an elderly Lady Thatcher struggling to avoid “going mad”. Her daily battle includes numerous flashbacks to specific moments and events. Through these episodes, we take a quick trip through history … almost a Cliff’s Notes version. Additionally, we witness how she regularly “sees” and speaks with her husband Denis (Jim Broadbent). Yes, he died years ago. It seems she realizes this, but enjoys the comfort of having him nearby.
During the flashbacks, we get a feel for her early onset political ambition, which evidently came from her dad the grocer (and small town politician). He encouraged her to work hard, be different and think for herself, while never backing down from her beliefs. This seems hard-wired into her personality through the years as she fights the male establishment and climbs the “greasy pole” of British parliament.
The brief segments on the Falkland Islands, Parliamentary debates, and tough Labor Union stance will probably leave you wanting more details on how she negotiated her way through some very unpopular decisions. The best suggestion is to read some of the endless stream of documentation in print regarding her time in office. But don’t let that distract you from an unusual and interesting film. Plus, you certainly want to catch another world-class performance from, whom I consider, the greatest actress in film history.
SEE THIS MOVIE IF: you want to see an accurate and insightful personal look at a once powerful world leader who is stuggling with Dementia/Alzheimers and her place in history OR you want to see yet another stunning performance from the great Meryl Streep
SKIP THIS MOVIE IF: you are looking for a documentary style historical biography on Margaret Thatcher
Greetings again from the darkness. Most of us are extremely under-informed on the details of the Bosnian War thanks to the cursory western media coverage, which was complimented by the mostly hands-off approach from the UN. This movie doesn’t shy away from exposing the atrocities of ethnic cleansing, genocide and crimes against women that occurred, but it does so through an intimate story rather than an epic tale of war.
This is no place for a history lesson, and I would certainly not be the one to supply it, but some basics are required to somewhat understand what’s going on. The reign of Yugoslavian President Tito lasted until his death in 1980. Although much criticism is directed his way, he was able to guide a society that allowed the co-existence of Bosniak Muslims and Orthodox Serbs. You might recall that in 1984, Sarajevo hosted the Winter Olympics. Not long after that, the republics began skirmishes that eventually escalated to a complicated civil war lasting from 1992-95 (The Bosnian War).
The film focuses on two people: Danijel (Goran Kostic) and Ajla (Zana Marjanovic). They are dancing cozily in a nightclub when a bomb shatters their date and their lives. Danijel goes on to become a mid-level military leader of the Serbs, while Ajla and her Muslim family and friends have their way of life ripped apart. Some are even executed. Ajla ends up as a prisoner at the camp Danijel commands. He manages to protect her from the brutal rapes (by soldiers) by staking a claim on her and putting the order out that she is not to be touched.
Ajla is an artist and Danijel is a soldier and their earlier dance evolves into their own personal war of wits, mistrust and psychological escape. Danijel is clearly not of the mindset to be a brutal killer within a war, yet Ajla constantly observes his every movement and interprets even the slightest change in his approach to her and the war. She does what she needs to survive and he uses her as an escape from the atrocities of his day job. The end result of this relationship is both shocking and inevitable.
Danijel’s father, Nebojsa, is a senior level military leader who shows up in time to provide us with a brief history lesson dating back 600 years. He takes much pride in the Serbs ability to conquer and persevere. Nebojsa is played by Rade Serbedzija, whom many will recognize as the villain from The Saint (1997) and Boris the Blade in Snatch (2000). This is a powerful and frightening character, and we quickly understand why he doubts his son’s fortitude. The moment he finds out about Ajla, we are immediately hit with a feeling of dread for her.
After the screening, we were fortunate enough to have a discussion panel sponsored by the World Affairs Council. One of the panel members was a former officer in the Bosnian Army who spent time in two separate concentration camps. Viewing the film was very emotional for him and he said it captured the realities as well as a movie possibly could. Of course, we never lose sight of the fact that what we see on screen are not “real” bullets, not “real” rape, and not “real” blood.
Most of us are aware of the humanitarian efforts of Angelina Jolie. She brings that same caring perspective as a first time filmmaker (writer, director, producer), working diligently to tell a story that exposes the realities of war and how humanity can dissolve into horror. It’s not a perfect film (it runs a bit long), but it tells a powerful story that we may prefer to pretend never happened. Just like the Bosnia and Herzegovina citizens, we can’t help but wonder what took NATO forces so long to get involved. Capped by an understated and haunting Gabriel Yared score, the film is a brutal reminder that war is the ultimate sacrifice and punishment for real people and real families.
note: don’t miss a quick cameo by Brad Pitt (I believe he knows the writer/director/producer pretty well)
note: The Turkish meaning of Balkans: “Bal” = Honey, “Kan” = Blood
SEE THIS MOVIE IF: you are interested in learning more about the atrocities of war from the vantage of two people with little choice in their situation OR you would like to see the first step of a fine new filmmaker, Angelina Jolie.
SKIP THIS MOVIE IF: you would just as soon avoid any more harsh realities of war and the subsequent loss of humanity
Greetings again from the darkness. The true story of Edward abdicating the British crown for the love of his life transcends romance or history. It is even more interesting than the story of his brother’s reign in his place … as documented by Oscar winner The King’s Speech. To think this man surrendered the power that comes with being King, lost his family, and was outcast from his beloved country, all because he chose this woman … well that’s what dreams are made of.
Andrea Roseborough is outstanding as Wallis, the American twice-divorced spirited woman that Edward (James D’Arcy) falls so hard for. The only issue I had was that her speech pattern and tone reminded me of Rosalind Russell every time she spouted off another tart line of dialogue. Still, the sparks were evident between between these two, despite the sometimes horrendous camera work. Which leads me to the biggest problem … this is a horrendously made film and it doesn’t come close to doing justice to such an intriguing true life story.
Posted by David Ferguson 
Movie Reviews from the Dark 