In another VIP room not far away, Vin Diesel, with his shining bald head, sat down, waiting for the film to start. Taking time out of his busy schedule to attend the screening of a Murphy Stanton film, whom he wasn't particularly fond of, was mainly because his film was about to face direct competition from it.
"Fast & Furious 6" had premiered in North America the previous weekend, grossing over $97 million in its opening weekend. Despite the film's mediocre reviews and potential for a significant drop in its second weekend, it was expected to surpass $250 million in North American box office revenue.
However, achieving this goal depended on "The Dark City" not being too strong this weekend. If it had a massive opening like "The Avengers," all concurrent releases would inevitably suffer, and the already poorly received "Fast & Furious 6" might experience a sharp decline.
That was a scenario Vin Diesel was desperate to avoid.
From the pre-sale figures, it was clear that "The Dark City" would gross at least $150 million in its opening weekend in North America. If it stayed at $150 million, "Fast & Furious 6" might not be too severely impacted.
Ultimately, it all depended on the film's quality. If it received rave reviews at the premiere...
Vin Diesel shook his head; that was the last thing he wanted to see.
"It's starting!"
The moment the big screen lit up, Daisy couldn't contain her excitement. She was eager to see the magician's wicked performance.
Countless fans awaited the screening in nearly 4,000 theaters across the United States, and numerous critics gathered at the premiere venue, Lincoln Center, ready to enjoy a dark cinematic feast.
The opening of the film gave everyone a small shock.
The classic 20th Century Fox intro had changed. As the familiar music played, the screen displayed a gloomy, dark scene with swirling black mist in the background. Even the Stanton Studios logo was shrouded in darkness.
After these intros, the screen was filled with swirling blackness. The camera suddenly lowered to a bird's-eye view of Manhattan. The tall buildings appeared in eerie blue-black hues, with the tallest ones suddenly erupting in flames, forming the words "The Dark City!"
The screen then quickly cut to the credits of a Murphy Stanton production.
Suddenly, the darkness vanished, replaced by bright sunlight shining on New York's bustling streets. The camera captured an ordinary-looking man in a black suit from behind, gradually zooming in until it focused on him.
The man was carrying a net bag filled with colorful magic balls!
"So, this is the magician!"
The clever yet straightforward use of the camera made it clear even to non-film enthusiasts what was being conveyed.
"Murphy Stanton is still the same Murphy Stanton!"
In the New York State Theater, renowned "Rolling Stone" critic Peter Travers was impressed. "His opening shots are always stunning yet accessible to everyone. That's what makes him a truly outstanding director."
While many can use complex shots, doing so in a way that is both dazzling and easy to understand is a rare talent, according to Travers.
The film continued, with the back-view man joining other thieves to rob a bank. These black-hooded criminals had a meticulous plan, easily opening the bank's vault. The audience couldn't initially discern which one was the magician.
"Is that all?"
In the same theater, "The New Yorker" critic Richard Brody shook his head. "The opening shot is impressive, but what does this robbery scene add to the film or the character development?"
As the thieves opened the vault, Brody found the scene rather mundane, except for the possibility of the magician being slightly mad.
Known for his sharp critiques and diverse tastes, Brody thought giving this film a passing grade might be generous if this was its standard.
However, the subsequent developments quickly dispelled this notion.
Still without showing the magician directly, the character came alive through the thieves' dialogue and actions, making him seem vividly real.
The thieves, provoked by the magician, began killing each other after opening the vault until only one remained. This sole survivor cheekily mocked the bank manager and the New York mafia behind him, killed the school bus driver who had driven into the bank, and drove away coolly, blending into a line of school buses.
In the bank, the terrified manager was left biting a harmless smoke grenade, its smoke seemingly mocking everyone.
"Damn! This magician is awesome!"
In a Los Angeles theater, Justin clenched his fist. "He stole the show without even appearing!"
Richard Brody watched the screen, gradually speechless. The opening scene wasn't mundane; it was so brilliantly executed that it made one want to cheer. Murphy Stanton's indirect portrayal was nearly perfect, making the magician unforgettable without showing his face!
This wasn't mundane at all; it was… absolutely stunning!
The film had three main characters. After the magician's unique introduction, the female lead, Jay Rachel, also appeared. The viral marketing beforehand had heavily featured Jay Rachel's campaign for New York District Attorney, so her first appearance was at her inauguration as DA, alongside her father, a senator from the previous film.
At Jay Rachel's inauguration, her father's brief speech hinted at his retirement.
Though Murphy didn't explicitly state it, those who had seen the previous film knew that Jay Rachel's father was an internal official in New York colluding with Reyna, and Jay Rachel was aware of this.
Under these circumstances, newly appointed DA Jay Rachel not only ignored this but also had her father participate in her inauguration...
Murphy used these scenes to show the audience that Jay Rachel wasn't as pure and kind as she appeared.
Some viewers might only realize this on a second viewing, but sharp-eyed professional critics noticed it immediately.
Kenneth Turan from the "Los Angeles Times," a long-time admirer of Murphy, nodded in approval at the film's various scenes and designs, especially this one.
"Humans are not simple creatures; everyone has their own thoughts and ideologies." He jotted down in his notebook. "Chris Dane has them, Reyna has them, Detective Lynch has them, and so does Jay Rachel!"
When law and family conflict, what choices will one make? For Jay Rachel, either choice would be extremely difficult.
Subsequently, Jay Rachel's other side became clearer. Her first task as DA was to pursue both the mafia and Chris Dane's vigilante, both of whom had broken the law. Yet, she showed her dual nature by fiercely targeting the mafia while ignoring Chris Dane.
Chris Dane, the final main character, appeared last. The vigilante's presence brought a layer of security to chaotic New York and hope to its citizens. Some radicals even dressed as vigilantes to fight crime.
Chris Dane appeared in such a scene, stopping both the mafia's dealings and the actions of the imitators. However, one imitator's question left him wryly smiling.
"How are you different from us?" an imitator shouted. "What right do you have?"
Many early viewers, devoted Murphy fans, naturally pondered this. As an ordinary person without legal authority, what gave Chris Dane's vigilante the right to fight crime? Was such vigilante justice really reasonable or legal?
Professional critics, even more, appreciated this. Richard Brody was directly struck by this sensitive issue.
"With just one line…" he muttered, "Murphy Stanton elevated the film's theme. No… it even changes the perception of the first film, 'Chaos City'."
He looked away from the screen, trying to glimpse the unique director sitting in the front.
But like the film, all he saw was darkness.
Not only Richard Brody but many others, like Vin Diesel and Leonardo DiCaprio, realized they were facing or about to face a formidable opponent.
Yet the fans didn't care. They were already deeply captivated by the film.
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