Funny thing about science fiction: it seems like every decade or so the genre spawns a film that is generally overlooked in its original theatrical run but that simply refuses to go away after that, slowly building an audience by word of mouth, until years later audiences circle around back to it, smack themselves in the head and wonder how they missed it the first time. 2001: A Space Odyssey was one of these films. Blade Runner another. And I'm pretty convinced that Darren Aronofsky's The Fountain will prove to be this decade's entry in this particular sweepstakes. But in the 1990s the overlooked gem was Alex Proyas' Dark City.

Proyas, of course, is the Australian director who burst on to the scene with The Crow.It was his second feature, but first to be distributed at all outside of Australia and it simultaneously branded him as a director who could out-do Tim Burton in the goth game while also damning him to be forever associated with the tragic death of Brandon Lee on set. These days Proyas is basically a stylish hired gun for the studios, moving from big budget spectacles like I, Robot - a film the director himself is an outspoken critic of - and the upcoming Nic Cage vehicle Knowing. But before he lost his soul - and please, Alex, stop doing this studio pap and get back to your roots - Proyas turned out his masterpiece, the bleak and beautiful Dark City.

Made while he was still reeling from the death of Lee, who he considered a personal friend, it's hard not to consider Dark City a direct response to tragedy. Proyas used a recurring childhood nightmare as the basis for the film - he woke up for years terrified that someone had crept in during the night and rearranged things in his room - and the result was mind bendingly original, a noir-oriented world that twists and turns, constantly reshaping itself as part of an alien plan to discover the nature of the soul.

Much like Blade Runner, Dark City was the victim of enormous studio interference. The suits just didn't get it. It needed to be lightened up a bit. It needed to be made more clear. And just like Blade Runner this meant changes to Proyas' intended edit and the forced addition of a narrator to explain what was happening. But, also like Blade Runner, Dark City's genius shone through thanks in no small part to a brilliant cast. I've never understood why star Rufus Sewell doesn't get more work and he's perfect in this. William Hurt was born to play the sort of noir cop roles that he sinks into here and the film features a Kiefer Sutherland who was then a bit down on his luck and a Jennifer Connelly who was just beginning her ascent. Hell, it's also got Rocky Horror writer Richard O'Brien as one of the most memorable screen villains ever.

Anyway... the point of all this. Dark City is back. And not only is it back, it's now available in the form its creator intended for the first time ever. Between for-hire jobs Proyas somehow wheedled the cash from the studio powers that be to go back to his baby and finish it up right. The missing scenes? Back where they belong. The unnecessary narration? Banished. And all of it nicely remastered and polished up nice and shiny. If you missed out on it the first time here'syour chance to check out Dark City the way it was meant to be. Don't miss it this time 'round.