The Crow (2024)
Review
Rupert Sanders’s The Crow is shaping up to be one of the more polarizing big-budget films in recent memory. After years of attempts to resurrect James O’Barr’s iconic antihero, fans initially greeted the casting of Bill Skarsgard with cautious optimism. However, that enthusiasm quickly faded when his character’s look was revealed, leading many to criticize the trailer as a derivative of John Wick and a disrespectful follow-up to the original Brandon Lee classic.
Yet, it’s important to remember that aside from Alex Proyas’s 1994 masterpiece, the Crow franchise has never really delivered another solid entry. In fact, some of the sequels have been downright dreadful. So, it’s a bit puzzling why fans have suddenly become so protective of a franchise that has long been mired in mediocrity. That said, while Sanders’s take might be the second-best Crow movie ever made, it’s essential to keep in mind just how low that bar is. What we get here is a serviceable gothic action film with some interesting creative choices, albeit one that suffers from uneven pacing and a lack of coherence.
One of the more surprising aspects of the film is that Skarsgard’s Eric only fully embraces his role as The Crow in the final act. For much of the runtime, the focus is on fleshing out his relationship with Shelly (played by FKA Twigs), with the two characters not meeting their tragic end until about forty minutes in. Unfortunately, their love story lacks depth, relying heavily on scenes of them attending raves, doing drugs, and engaging in tastefully shot love scenes that feel more like a music video than a genuine romance.
Despite Lionsgate’s attempts to keep this film under wraps from critics, The Crow is a much better effort than some of the studio’s recent flops, like Borderlands. Bill Skarsgard, who impressed with his action skills in Boy Kills World, brings a fresh take to the character. Unlike previous actors who tried to mimic Brandon Lee’s iconic performance, Skarsgard goes in a different direction. Drawing inspiration from the late rapper Lil Peep, his Eric is portrayed as a cynical drug addict we first encounter in rehab. This version of Eric isn’t your typical romantic hero; when he’s resurrected, he spends much of the film grappling with fear and confusion rather than immediately transforming into a vengeful force.
The plot diverges from the original film and graphic novel in significant ways. Shelly’s soul is damned because her mother sold her to Danny Huston’s Vincent Roeg for fame and fortune. Roeg, in turn, maintains his immortality by collecting and corrupting innocent souls, with Shelly being one of his victims. FKA Twigs does a commendable job portraying Shelly’s vulnerability and torment, but her character fades into the background after the first act, leaving the spotlight squarely on Skarsgard.
As for the villain, Huston channels the lecherous energy of his father, John Huston’s character in Chinatown, adding a touch of gravitas to his role. Sanders complements the film with a haunting score by Volker Bertelmann (All Quiet on the Western Front), along with a fitting goth soundtrack that includes tracks from Joy Division, Gary Numan, and Enya.
However, the film is marred by some significant pacing issues, with parts of the narrative feeling disjointed, as if crucial scenes were left on the cutting room floor. Characters like Eric’s gun-dealing friend, who seem poised to play a larger role, end up being little more than fleeting cameos. The detective work Eric undertakes while hunting down Roeg is disappointingly simplistic, relying on a contrived series of coincidences where he conveniently finds a cell phone on each of his victims, leading him to the next set of villains.
Despite its flaws, The Crow manages to redeem itself with some standout set pieces. A climactic action sequence set during an opera is particularly well-executed, and the film’s conclusion strikes a bittersweet, albeit somewhat predictable, chord. Visually, the film distinguishes itself from the original by avoiding the temptation to replicate its iconic noir-style cinematography, thanks to the work of DP Steve Annis.
So, is this version of The Crow a hidden gem among summer blockbusters? Perhaps not, but if you’re in the mood for a goth-infused action flick, you could certainly do worse.
Verdict
In conclusion, Rupert Sanders’s The Crow offers a fresh yet divisive take on a franchise that has struggled to find its footing since the original 1994 classic. While Bill Skarsgard’s performance and some standout action sequences bring new life to the character, the film’s pacing issues, uneven narrative, and lackluster romance prevent it from fully capturing the magic of its predecessor. It’s a film that takes risks, some of which pay off, while others fall flat.
Overall, I would give The Crow a 6.5 out of 10. It’s a commendable effort that stands as the second-best installment in the series, but it doesn’t quite soar to the heights fans might have hoped for.