At the very least, the filmmakers hit on an interesting concept in deciding to tell the story of an alien invasion in which the malevolent beings are invisible for most of the film. Unfortunately, The Darkest Hour is amateurish, lifeless, and largely predictable. An art director who worked with David Fincher and Terry Gilliam among others, first time director Chris Gorak shows a definite flair for style, but doesn’t show as much talent for storytelling.

Genius American software developers have traveled to Russia in hopes of selling their new Internet enterprise. Shocked to find that their idea for a for a global traveler social network has been stolen, the guys head to a local bar, where they run into fellow Westerners Natalie (Olivia Thirlby) and Anne (Rachael Taylor). It’s not long before something odd begins appearing in the night sky—weird balls of something start crashing to the ground. A police attempts to crush one of the shining orbs with his nightstick and is quickly reduced to a pile of ash.

The foursome quickly decides to get to safety. Carefully avoiding the falling orbs, they find shelter in a storage room. When they emerge four days later, Moscow has become an unrecognizable and horrifying place. Everyone is dead, and to make matters worse, some kind of alien presence is pursuing them. Not visible, but able to create an electrical field, these aliens appear hell bent on killing them, one by one.

The story itself is clunky, and lacks any real narrative cohesion. So much so, that I found myself wondering if Chris Gorak had intended to produce such a soulless story, or if his project just met a terrible fate in the editing room. When the screenplay isn’t relying on bad directions, broken guns, and flying debris to ramp up the excitement, there’s plenty of unconvincing melodrama to go around.

It’s seems like The Darkest Hour may have started out with Cloverfield like ambitions. However, given the shoddy nature of the final film, it seems clear that it was retooled several times in post production. The Darkest Hour might have been best left on the shelf; it’s nowhere near good, and likely of interest to those who will sit through any sci-fi flick no matter the quality.

Framed at 2.40:1, Summit Entertainment has provided The Darkest Hour with a very nice 1080p transfer.  Black levels are nice and inky throughout, and colors are wondrously vibrant. Details are nearly pitch perfect, and while a few instances of aliasing do arise, this is a fine presentation.

The DTS-HD 5.1 Master Audio sound mix is also outstanding, in that it serves the movie well. Surrounds kick in appropriately without being overbearing, and dialogue is clear and audible throughout.

A Spanish Dolby Digital 5.1 sound mix is available, as are English SDH, and Spanish subtitles.

The following special features are included:

  • Audio Commentary: Director Chris Gorak discusses the production, its similarities to Red Dawn, the assemblage and work of the cast, shooting in Moscow, filmmaking locations within the city, working in 3D, challenges of the shoot, the specifics of the plot, visual effects, score and sound design, etc.
  • Survivors (1080p, Dolby Digital 5.1, 8:10): A short film based in the world of The Darkest Hour that’s actually somewhat better than the main feature.
  • The Darkest Hour: Visualizing an Invasion (1080p, 12:09): A detailed look at the process of creating the film’s visual effects.
  • Deleted and Extended Scenes (1080p, 4:48): Anne and Natalie at the Airport, Skyler Brags to Tess, Ben and Vika Talk About Their Siblings, A Toast to the Fallen Comrades, and Natalie and Sean Talk About Anne and Ben. With optional director commentary.