As a cinephile who has spent countless hours immersed in the rich tapestry of cinema, I find myself often in awe of the sheer audacity and ambition that drives filmmakers to remake beloved classics. However, “The Crow” (2024) is an exception that proves the rule – it’s a reboot that leaves me feeling as lifeless as the titular character himself.
Reviving “The Crow” was an incredibly daring project given its history. The initial film directed by Alex Proyas, released in 1994, garnered a significant fanbase that grew into a cult following. However, the production of this movie is also marked by tragedy as its lead actor, Brandon Lee, the son of martial arts legend Bruce Lee, lost his life during filming. Tragically, while shooting one of the action sequences, a prop gun that had not been properly inspected discharged fatally wounding Lee. Despite the movie’s eventual success, Lee’s untimely death remains an ever-present shadow over it.
2024’s “The Crow” is a new take on the 1989 comic book series by James O’Barr, and it serves as a fresh start for the underwhelming movie series. Rupert Sanders is at the helm with a screenplay penned by Zach Baylis and William Schneider. Unfortunately, this version falls short compared to the 1994 film and its source material. Several problems accumulate, making them hard to ignore. By the end, one can’t help but question how such a powerful tale could turn out so dull and unengaging.
In almost every aspect, the issues with this movie are evident. Fans of the original film will immediately notice the absence of the distinctive dark gothic atmosphere. The world presented by Sanders is somewhat rough and dirty in places, but it fails to make a lasting impression. It lacks the brooding, ominous tone that was crucial for immersing us into the story of the 1994 film. Instead of maintaining the unique setting, Sanders opted for a more generic urban backdrop, which unfortunately drains the movie of its potential power.
As a cinephile, I have to say that this movie doesn’t shy away from the supernatural aspect of its narrative. Baylis and Schneider have made some significant alterations to the original source material, choices that, in my opinion, miss the mark. Instead of a savvy street gang leader, the main antagonist is transformed into an affluent uptown crime lord who serves the Devil. It’s downright peculiar, and even more so when this character is portrayed by the talented Danny Huston, yet he fails to leave a lasting impression on the audience. To top it off, he possesses people by muttering incomprehensible words into their ears, a twist that feels baffling and out of place.
The unnatural absurdity deepens as the heartfelt bond between Eric (Bill Skarsgård) and Shelly (FKA Twigs) forms a significant aspect of the narrative. Director Sanders devotes an extensive amount of screen time to portraying their relationship, but it often lacks a sense of genuine or believable development. Intriguingly, Eric and Shelly first meet in a tightly secured rehabilitation center, only to miraculously break free together. After a short while, they express their affection for each other, yet the subsequent 15 minutes are dedicated to proving that their love is sincere. However, Shelly has a past looming over her that will soon collide with Eric’s life.
Consequently, another crucial aspect of Eric and Shelly’s narrative unfolds – their tragic demise, which is revealed to be orchestrated by Vincent Roeg (Huston), a key figure working for the Devil. When his diabolical secret was at risk of being exposed, Vincent dispatched one of his henchmen to eliminate Shelly and Eric. This assassination is portrayed as more refined in comparison to the 1994 film’s depiction, but it lacks the same level of intensity.
Eric is mysteriously brought back to life in a way that’s hard to comprehend the details. A man called Kronos (Sam Bouajila), who seems to be from some otherworldly place, explains the situation. Instead of becoming a vengeful spirit, Eric is offered an opportunity to restore Shelly to life. To do so, he must eliminate everyone implicated in Shelly’s death, including Vincent. As a result, Shelly too will rise again. This new plot development introduces elements of the supernatural that can be confusing and don’t always fit together logically.
In summary, Skarsgård’s acting stands out as exceptional and consistently enhances the material he portrays, although it takes much of the film for him to don his Crow costume. FKA Twigs struggles a bit, while Danny Huston appears to be phoning in his performance.
In a fresh attempt, “The Crow” endeavors to reimagine its content, but most of its innovative ideas fail to impress. It’s challenging not to draw comparisons with the iconic 1994 film starring Brandon Lee, as it falls short in almost every aspect relative to that movie. However, the opera house scene in the third act is a stunning display of brutal violence and gruesome gore, masterfully executed in terms of cinematography, editing, and choreography. Regrettably, this film needs more than just that exceptional scene to make a convincing case for reviving this intellectual property. “The Crow” hits theaters this weekend.
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2024-08-24 19:57