As a die-hard fan of the original “The Crow” and one who has seen countless adaptations of beloved comic book series, I must say that this 2024 remake left me feeling rather disappointed. With the legacy of Brandon Lee hanging over it like a dark cloud, it’s clear that respect for the source material was not the priority here.
Can one great scene save a bad movie? The Crow provides the answer to that question: no. This gothic superhero film is the second movie to adapt James O’Barr’s 1989 comic book series, with the first being a cult classic 1994 movie starring Brandon Lee. Lee infamously died during the production of that film, meaning that The Crow has become a monument to a man who left us too soon. Alex Proyas, the director of the ’94 film, once said, “It’s not just a movie that can be remade. It’s one man’s legacy. And it should be treated with that level of respect.”
To put it simply, this film fails to live up to the original “The Crow” in terms of quality and impact. Given that the franchise hasn’t exactly thrived since its debut in 1994, with three poorly received sequels following the first movie, it’s disappointing to see another attempt at Eric Draven’s character. Bill Skarsgård takes on the role this time, but unfortunately, the film doesn’t do justice to the character he portrays. While his performance is not entirely poor, the overall production seems to undermine the character of Eric Draven.
From the outset, it’s evident that this version of The Crow isn’t aiming to reproduce the 1994 film. Instead, it’s an adaptation of the characters, and it departs significantly from the original movie. Unlike the initial film where our characters are already deceased, then resurrected for vengeance, this storyline commences in a unique manner. The narrative opens with more emphasis on Shelly, played by FKA twigs, who is attempting to safeguard a video and ends up in rehab, where she encounters Eric.
From here, it’s easy to appreciate what this movie tries to do. While the first film only features Eric and Shelly’s relationship through flashbacks, this movie wants to delve more into how these characters meet, what draws them together, and then break our hearts once they are eventually killed. It’s a good idea on paper, but the movie executes it very poorly. It’s strange to introduce us to these characters as two junkies escaping rehab together (very easily, I might add), especially after the original movie had Eric confront a woman for being on drugs rather than taking care of her daughter.
In the film “The Crow,” the on-screen chemistry between Skarsgård and Twigs falls short, making their relationship seem more like a fleeting romance rather than a deep, long-term commitment. This is particularly noticeable because in the original, the characters were depicted as being together for a significant period of time and engaged to be married. In this version, the murder occurs just days after they first meet, which fails to create a strong emotional impact. Each romantic scene feels insignificant, leading to an unexpected monotony. Compared to other films that have built powerful love connections in fewer scenes, this movie struggles to achieve even that level of success.
“A problem is that this film unnecessarily makes the characters more complex. The graphic novel and the initial movie presented the main characters as being killed by evil individuals, with the villains enjoying their actions in the comic and the first movie adding a touch of tenant eviction-related motivation. However, The Crow (2024) introduces new elements, such as the villains pursuing Shelly due to her possession of incriminating video evidence, and Danny Huston’s character, Vincent Roeg, who can control people’s minds by whispering into their ears.”
This idea’s implementation is somewhat amusing, yet it’s clear that the film unnecessarily convolutes its villains and their objectives, dedicating excessive time to them despite being forgettable. Additionally, the horror is diminished because it’s chilling to consider senseless violence could strike you and your partner. The fact that it could occur randomly, without motivation, makes it even more unsettling. However, by providing Shelly with incriminating evidence, the film undermines the randomness aspect that made the attack so terrifying. Furthermore, the characters’ involvement in this broader conspiracy doesn’t enhance the plot at all.
The original film moved at a rapid tempo, with Eric reprising his role as The Crow, swiftly avenging those who harmed him following their demise. In contrast, this sequel seems to drag on interminably, failing to reach the initial movie’s starting point in an engaging manner. Even if the first hour and a half were entertaining, it unfortunately falls short. You might find yourself cringing at some of the dialogue, and you’ll spend far too much time focusing on characters you don’t care about. There are scenes reminiscent of clichés involving Shelly’s post-mortem underwater presence and Eric encountering a character in the afterlife whose sole purpose is to provide exposition. The frequent interactions between Eric and Mr. Exposition become almost comical due to their repetition.
As I watch Eric take on the role of The Crow, I’m left with a sense that something isn’t quite right. What makes this character so captivating is his invincible, relentless nature – a force capable of exacting vengeance upon those who wronged him. However, the film seems to focus excessively on Eric learning and mastering his newfound abilities, which leaves me feeling uneasy, as I long to see this powerful figure in action. Instead, he appears fragile and vulnerable, stripping away the very essence of what makes The Crow such an enjoyable character: witnessing his unstoppable might.
As the Raven hobbles towards its climactic end, things take an unexpected turn. Just like the film’s struggling protagonist, this seemingly lifeless movie miraculously regains momentum with its thrilling finale action scene. This final act unfolds at an opera house, a setting that adds an extraordinary touch. The sequence is nothing short of phenomenal, filled with gruesome intensity and imaginative deaths. It skillfully leverages the Crow’s powers to maximum effect. The fight scenes are masterfully executed, making this bloodbath a visual treat.
The opera sequence in The Crow is almost worth the price of a ticket alone. It’s so spectacular that I would search for it to rewatch it in a few months. That’s how splendid this movie suddenly becomes. You’re left to wonder where this movie was hiding the whole time. If director Rupert Sanders had this in him, why didn’t we see this earlier? Where has this guy been all our lives? I kid you not; if the entire movie had been close to as fantastic as this opera sequence, I might have even liked it more than the 1994 movie. This is the only great scene in the film, and it’s so much better than everything else that it sticks out like a sore thumb.
Despite my fondness for this particular sequence, the film’s build-up feels overly prolonged, making it arrive too late to leave a lasting impact. At this juncture, it’s already too little, too late, and the climax fails to hold up, despite having an intriguing concept. I can’t help but feel that this film could have been more than it ultimately is, but its pacing falls short, and much of it feels like a forgettable revenge tale. The ambiance doesn’t quite match up to Proyas’s original work, leaving us with an inferior replica of a classic ’90s actioner that perhaps should have remained untouched.
SCORE: 4/10
According to ComingSoon’s review policy, a score of 4 means “Poor.” This rating implies that the negatives overshadow the positives, resulting in a challenging viewing or experience.
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2024-08-26 21:10