‘Pitch Black’ is a cracking film that works on a number of levels. On one hand, it’s yer basic monsters-versus-humans, seek-and-destroy, shoot-‘em-up story. On another, it’s about the interaction between a very unlikely and mismatched bunch of travellers, and the tension between them.
On its way to the outer reaches of an unspecified galaxy, a freighter, carrying cargo and passengers is hit by a meteor shower. The Captain is killed, and the First Officer and Pilot Fry (Radha Mitchell – ‘Neighbours’, ‘High Art’) battle to get the damaged ship out of trouble as it hurtles towards an unknown, inhospitable planet.
Once on the planet, the survivors set about finding shelter and water, and discover that they aren’t alone. They also soon discover that the unfriendly inhabitants of the planet like the dark – and that there’s an eclipse on the way. Bummer!
The photography is sumptuous. In the early sequences, director David Twohy uses filters to show the light quality of an environment with three suns - it looks like Planet Calvin Klein. Twohy beautifies the action, and lends a cleverly surreal and, at the same time, humourous quality to the moment. But not for long.
Although a nod has been made to ‘Alien’ and ‘Aliens’ in the monster design, these nasties are cleverly kept out of sight for much of the action, which helps build tension. It is genuinely shocking at times, and there’s a callous streak in the editing, but there are also some wickedly funny moments that save it from being just a gore-fest. There’s very little music, so Twohy doesn’t signpost the dangerous moments ahead of the action.
There are no mega-stars, and the characters are a mixed bag, some of whom you don’t expect to see in a sci-fi film. A muslim cleric, Imam (Keith David – ‘There’s Something About Mary), and his three young disciples rub shoulders with an archaeologist, Paris (Lewis Fitz-Gerald), who’s in it for the luxuries, amongst others. Also on board is Richard Riddick (Vin Diesel - `Saving Private Ryan`), an escaped serial killer with surgically-enhanced eyesight, who is being taken back to prison by Johns, a bounty hunter with a taste for illegal substances. Diesel’s deep, dark voice menaces, just as his focused air of self-preservation sets him apart. The cast produce some fine ensemble playing, which gives the film a compelling strength that is greater than the sum of its parts.
On another level, ‘Pitch Black’ is a story about monsters of the human variety, a “venture into the Heart of Darkness”, as Twohy puts it. Rather tritely, I might say. So, Ripley-esque Fry is prepared to sacrifice others to survive the crash, and Johns is happy to do a deal to save his own, pointlessly selfish life. There are few characters you actually warm towards. In one or two cases, you actively cheer the monsters!
Clichés hamper the film, however. Riddick’s enhanced night vision becomes a metaphor for his being able to ‘see’ into the dark in everyone’s soul, and to ‘see’ the reality of their situation. It was always obvious that this aptitude would become the ‘goodness’ that ultimately saves them from the dark. There are, however, some unexpected twists and turns before the end.
Ultimately, it’s the turbo-drive pace which is the star of the show. You barely have time to get to know the characters before things start to happen. The script is minimal and, in places, inane, but the action leaves you breathless. Anyway, how the castaways react to the non-stop action tells you more than scads of dialogue ever could. One more thing: don’t wear your best undies.