I remember taking this one home from work at the video store when it came out. And I enjoyed it. Sure that was some thirty years ago (how is that possible?), would I still like it if I watched it today?

Apparently the answer is yes.

A pulpy blend of special effects, characters and production design, the iconic character springs to life on the big screen. Sure, there are some budget constraints, but overall, I found it to be a great little romp.

Alec Baldwin plays Lamont Cranston, a former opium drug lord who is captured and trained to punish evil where ever he finds he it. He has the power to cloud the mind, making him seemingly invisible. That, a cool hat, red scarf, and two pistols makes for a cool-looking character, one that went on to influence Bob Kane in his creation of Batman.

Cranston returns to New York City, a bit of a playboy, with a hidden sanctum, and agents all over town.

When he receives word that there’s a new threat in town, he finds himself confronting Shiwan Khan (John Lone). Khan’s plan is to finish what his ancestor started, take over the entire world.

Cranston is not only given aid by his agents, but also a telepathic young woman, Margo Lane (Penelope Ann Miller) whose father, Dr. Lane (Ian McKellen!!) has been captured by Khan to help craft a city-leveling bomb.

There’s crime-fighting, some iffy CGI, and some banter-like dialogue, and a pretty impressive cast list; Peter Boyle, Tim Curry, Sab Shimono, Jonathan Winters, Max Wright, Ethan Phillips and James Hong!

Then, you throw in a bombastic score by Jerry Goldsmith!

Some of this film is great, and incredibly enjoyable. The sentient knife (that sure looks like the dagger from The Golden Child – shared universe?) is a bit annoying, but the rest of it is a lot of fun.

Baldwin seems to be having a great time, and there are some great moments, costumes. I settled right in and enjoy this one, and while I wasn’t perhaps as caught up as I was back in 1994, I definitely got a kick out of this one.

Yes, there are moments when you can see where the backdrops meet the set, and some of the sets aren’t quite as lush and expansive as they should be (and I love me some art deco), and not everything works all the time, but I man, I really still like this one.

It’s also interesting that Sam Raimi wanted to do The Shadow, and a film I’m planning on taking a look at shortly, Darkman is kind of his answer to not being allowed to.