As a seasoned gamer of the cinematic universe, I’ve witnessed the torturous saga of Hollywood’s futile attempts to resurrect The Crow for over a decade. It’s been like waiting for a phoenix to rise from ashes, only to find a fluffy penguin waddling out instead. Each new director and actor attached seemed like a promising glimmer of hope, but alas, they were just more feathers on the penguin.
I have spent more than a decade following Hollywood’s failed attempts to remake The Crow. Over the years, there have been a number of filmmakers attached (including Stephen Norrington, Juan Carlos Fresnadillo, F. Javier Gutierrez, and Corin Hardy), and the list of potential stars has included Bradley Cooper, Luke Evans, Jack Huston, and Jason Momoa. Its various setbacks resonated like punchlines, and it seemed like the cinema gods we’re sending a message.
The Crow
Release Date: The film will be out on 23rd August, 2024.
Nevertheless, even with numerous obstacles along the way, it seemed that those in charge within Hollywood insisted on producing the film – disregarding the emotional remnants of Brandon Lee’s unfortunate demise during the 1994 filming and the unwillingness of the original’s director, Alex Proyas, to participate.
Was the struggle to create this reminiscent of Dante’s Inferno justified in the end? Absolutely not. It’s more like a catastrophic collision, and it’s hard to discern any clear purpose behind its creation other than leveraging an intellectual property.
Originally, this film is an unexpectedly beautiful yet grim and violent story of revenge, brought to life by a captivating lead, impressive cinematography, and a standout ensemble cast. However, the remake falls short, being awkward, shallow, and seemingly drenched in the same muddy puddle throughout the entire movie. It heavily relies on two leads with no apparent chemistry, resulting in a lack of emotional depth or characters that resonate. The only similarities it shares with the modern masterpiece are its title and certain visual elements.
As a gamer diving into this fresh take, I find myself cast as a reserved, tormented inmate named Eric Draven (played by Bill Skarsgård) within a rehabilitation facility. My path crosses with that of the newly arrived Shelly (FKA twigs), who’s also serving her time. The movie sets us up as two damaged souls connecting, planning an escape from the hospital and fleeing – all seems intriguing enough to keep me hooked. However, for a painful 40 minutes, the story drags on until, finally, the climactic event we’ve been longing for: Eric and Shelly meet their untimely end.
Before getting arrested and committed to rehabilitation, Shelly had dealings with some questionable individuals often compared to dealing with the devil. A friend’s video of a sinister act reaches her, which marks her as a target. After meeting Eric and escaping from rehab, it’s puzzling why she chooses to remain in the same city, but this decision ultimately leads to her being hunted down and killed, along with her boyfriend.
In a forgotten train station beyond life’s borders, I find myself guided by a trope-filled mentor named Sami Bouajila. He delivers the grim news that my beloved Shelly’s spirit has been cast into darkness due to an unjust demise. Yet, he offers a glimmer of hope: my sorrow for her could serve as a means to restore her soul. As long as my love for my girlfriend remains untainted on Earth, I am granted immortality.
The Crow takes a simple revenge story and makes it a snore.
Rereading the 1994 movie “The Crow”, it’s evident that the story is concise and straight to the point. The film avoids lengthy explanations, instead diving right into the action with the death of its lead character. It assumes viewers can grasp the simple supernatural elements as the main character, Eric, embarks on his vengeful journey after death.
As a die-hard fan, I must admit that I was initially intrigued by 2024’s “The Crow” for its innovative approach to introducing the main characters prior to their demise. However, the execution left much to be desired, making it more of a bore than an engaging watch. The second act, unfortunately, falters with uninspired explanations about the afterlife, leaving me yearning for something more captivating. By the time the story really gets going, it’s almost a struggle not to lose interest entirely.
The storyline feels predictable and clichéd, lacking any surprising twists or fresh developments throughout its 111-minute duration. Viewers aren’t likely to be astonished when Eric’s (rather questionable) intense affection for Shelly is put to the test by a familiar revelation. Regrettably, there’s hardly an attempt to present something innovative on the villain’s side of the narrative.
I can’t recall the last time a movie was so incredibly incompetent in building supporting characters.
In a similar vein to previous roles, Danny Huston delivers his signature deep, ominous portrayal of villainy, but what’s remarkable about the film “The Crow” lies in its inability to develop convincing supporting characters. The team of killers led by Vincent Roeg lack any discernible personality, making Eric’s journey towards the final confrontation predictable and monotonous. Some may find appeal in the graphic deaths, catering to those with a penchant for on-screen gore (contributing to the additional half star in my rating). However, the violence is excessively gratuitous as well.
However, The Crow isn’t particularly populated with characters on Team Eric Draven. This team consists of 1) A Clichéd Spirit Guide found in the Afterlife at the train station, 2) An anxious man who appears to be Eric and talks to Shelly at a club, and 3) A Tattoo Artist who Eric visits after his resurrection. It’s hard to comprehend how the absence of engaging characters didn’t strike as a weakness in the script, making it puzzling how it made it through to production.
Observing Rupert Sanders’ “The Crow,” it’s puzzling why this film was kept in production for such an extended period. There doesn’t seem to be a fresh perspective or compelling take on Eric Draven’s story that warranted a big-screen adaptation, and the repeated changes in directors suggest there was never a distinct vision that needed to be realized. Essentially, it appears to be a superfluous remake, with perhaps its only advantage being that its creation may discourage further discussions about another one, allowing us to revert to admiring the original once more.
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2024-08-23 02:07