As a seasoned film enthusiast with over three decades of cinematic exploration under my belt, I must admit that “The Crow” re-imagining has piqued my interest and left me intrigued. Having watched the original 1994 film multiple times, I was initially skeptical about this new incarnation. However, Rupert Sanders’ interpretation manages to stand on its own while paying homage to the source material.
Lionsgate aims to distance the new version of “The Crow” from being labeled as a remake or reboot, acknowledging that reviving a long-dormant film franchise does make it a second iteration. However, it’s not a remake in the traditional sense, as the script for this adaptation takes greater creative liberties with James O’Barr’s original comic series than the 1994 movie did. The 1994 film is well-known due to Brandon Lee’s untimely death during production, which added an air of tragic symbolism to his career-defining role.
Biased comparisons often fail to do justice, making it no surprise the studio aimed to minimize such comparisons as much as possible. The long-developed project, which went through multiple directors, screenwriters, and actors over the past decade or so before reaching its current form, was already facing an uphill battle. Some ardent fans and early critics were eagerly sharpening their critiques. However, if you can set aside previous “Crows” films, Rupert Sanders’ “Snow White and the Huntsman” manages to create a substantial impact on its own merits – as a captivating fantasy-thriller that is both violent yet intriguingly alluring.
Unlike many fast-paced modern entertainments, this production carries a tone less akin to superhero, gothic pop or martial arts genres. Instead, it offers a sophisticated yet disjointed blend of revenge and love story. This reinvented piece is not an instant hit, but neither is it a complete flop that’s hard to watch.
Back in 1989, I birthed a comic book series as a way to channel my sorrow and fury following the tragic death of my fiancée in a drunk driving accident. In this gritty tale, I painted the antagonists as sleazy urban criminals, teetering between Dick Tracy’s world and a Death Wish sequel. However, Zach Baylin and William Schneider’s script has transformed these villains into twisted wealthy masterminds who seem to slip out of accountability for their heinous deeds – much like the characters in Blink Twice, a movie hitting theaters around the same time.
In an undisclosed metropolis, the emerging singer Shelly (previously known as FKA Twigs) finds herself inexplicably drawn towards the decadent social circle funded by the elusive magnate Vincent Roeg (portrayed by Danny Huston). This mysterious man is always keen on discovering new talent. His parties seem to have a strange allure, where people who are normally good often find themselves doing harmful acts. When Shelly’s friends Zadie (Isabella Wei) and Dom (Sebastian Orozsco) secretly document these illicit activities, they are swiftly caught, putting everyone in peril. Roeg is not to be trifled with; he’s rumored to have made a pact with the devil for eternal life and extravagant wealth, but at the cost of sending the souls of corrupted individuals to an otherworldly destination. When Zadie confronts him about this, Roeg coldly responds, “You go to Hell so I don’t have to.”
Escaping her pursuers, which included Laura Birn, David Bowles, and Karel Dobry, Shelly successfully gets herself arrested and arranges for the police to transfer her to a luxurious state rehabilitation center. At this facility, she encounters Eric (Bill Skarsgard), a tall, brooding individual whom she finds appealing. Given his mullet, numerous tattoos, sarcastic demeanor, frequent lack of a shirt, and overall physical fitness, Eric bears a striking resemblance to Pete Davidson after intense workout sessions. These two seemingly troubled characters appear to be charming socialites, their abundant trendy clothes and spare living quarters suggesting an unclear source of income or background. Their rapport develops swiftly once it becomes clear that the rehab facility is also not immune to threats from Roeg & co.
In my critique as a movie enthusiast, I’d say this film offers a leisurely love story that unfolds between the two protagonists, akin to a prolonged sequence of falling in love. Unlike previous installments that swiftly moved to the revenge plot and only hinted at tender moments, this “Crow” series installment takes its sweet time before diving into the vengeance. However, their idyllic journey is abruptly halted as villainy eventually catches up, leading to their tragic demise. The narrative then takes an unexpected turn when Eric awakens in a desolate, industrial-themed purgatory. Here, a figure named Kronos (played by Sami Bouajila) breaks the news that he has passed on, albeit with a twist – Eric isn’t truly gone yet.
In certain realms, it’s said that a crow serves as a guide for souls to reach the afterlife. However, some are held back by unresolved matters, causing a bird to carry them back to the realm of the living. Despite enduring harsh retribution at the hands of Rogue’s enforcers, Eric is able to recover (though painfully), due to the purity of his sorrowful love shielding him. For the latter half of the film, Eric embarks on a deadly mission to ascend through the chain of command, leading to a grand, bloody showdown between one man and a private army. This scene is intercut with an operatic performance, suggesting that the opera house has exceptional soundproofing, as patrons remain unaware of the continuous gunfire happening outside the auditorium. This sequence shares similarities with the climactic shootouts in Coppola’s “The Cotton Club” and “The Godfather Part III,” emulating some of their overtly dramatic flair.
It’s a good setpiece, and there’s a decent sendoff a bit later for Roeg, whose monicker is surely a cinephile in-joke. Elsewhere, Sanders’ “Crow” can lack urgency, but it doesn’t seem to be aiming for it. Nor does it have any real depth of emotion, despite the new conceit of Eric thinking he can somehow retrieve Shelly from the underworld, like Orpheus and Eurydice. Instead, the movie has a sort of bemused, floating quality that only occasionally feels slack.
The comics’ macabre starkness, and the first film’s ornate claustrophobia, give way to a sleek, airier look conjured up by DP Steve Annis’ widescreen compositions, well-chosen locations in Prague and Germany, the production design by Robin Brown (who’s cited Tarkovsky’s “Stalker” as one inspiration), and Kurt and Bart’s playful costumes. Special visual effects are restrained, apart from that omnipresent crow.
As a movie aficionado, I found Alex Proyas’ grunge-influenced portrayal quite distinct from its MTV-esque counterparts of the era. The style and atmosphere here seemed refined, almost aristocratic. Despite the graphic violence that earned an ‘R’ rating, it lacked the sensationalistic thrill one might expect. It was engaging enough, but left me with a slightly detached feeling – much like the unusual soundtrack selections, which favored the somewhat discordant tunes of Joy Division, Gary Numan, and others from the ’80s, rather than the high-energy, heavy metal anthems Brandon Lee performed his stunts to. The actors delivered solid performances that were surprisingly nuanced given the shallow character development, avoiding stereotypical overacting.
It’s unlikely that there will be a need for more of this, or even for Alexander Skarsgard to reprise his role. However, his and Sanders’ portrayal with the guyliner – a unique characteristic of the hero’s appearance that doesn’t appear until later – is undoubtedly the best “Crow” movie since the last one. Of course, the sequels in between were poor. But if you’re not overly concerned about what came before, 2024’s “re-imagining” has enough charm and style to please.
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2024-08-23 11:17