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The Crow is an unimpressive, yet watchable remake that is just like its protagonist: not entirely dead, but certainly not alive.
The Crow follows Shelly (FKA Twigs), a young woman who has found herself with the wrong crowd. While running away from a would-be attacker, she gets arrested after the police find drugs in her purse. While at a rehab facility, Shelly meets Eric Draven, a young, quiet, sullen man with whom she instantly bonds. They run away together and enter a whirlwind romance that can only last so long, especially with a target on Shelly’s back. When the consequences of her actions catch up with them, Shelly and Eric are killed, but he gets the chance to return as an undead version of himself and is tasked with getting revenge.
The film sees Bill Skarsgård playing a different, yet undercooked version of Eric, who here is an emo sad boi taken straight out of a My Chemical Romance video. Skarsgård has the physicality for the role and is quite committed to it, but his performance is basically divided into two distinct halves that struggle to connect. During the first half of the movie, Eric is more vulnerable and relatable, as he’s severely disturbed by his undying status and the constant pain he is exposed to. This is where Skarsgård shines the brightest, bringing the same soft, endearing, and somewhat manic energy he so effectively used in films like Villains and Barbarian.
However, once the movie decides (quite clumsily) to put the makeup on and turn him into the ruthless action avenger from the poster, Skarsgård becomes stiffer, more detached, and less compelling. His movements get clinical, with his long figure almost puppet-like and uncanny. It’s likely a deliberate choice to highlight Eric’s status as an instrument of vengeance without any humanity left, but the movie doesn’t expand on that theme, and the performance inevitably loses some steam.
FKA Twigs as Eric’s girlfriend, Shelly, fares slightly better. To the movie’s credit, it tries to turn her into a fuller character compared to the 1994 version; unfortunately, it chooses the worst possible way to do it, framing her as a near-ethereal, broken rebel who is this close to being a gothic pixie dream girl.
Similarly, Danny Huston as the film’s primary antagonist, Vincent Roeg, is an expert at playing forgettable bad guys with barely defined motives. His fellow villains are equally underwhelming, barely getting a line or two to justify their presence.
The main problem with The Crow boils down to its underdeveloped screenplay. There’s a noticeable ineptitude to it, highlighted by clumsy dialogue that seems taken out of an angsty teenager’s diary. The Crow doesn’t seem to trust its audience enough to lean into the subtext, instead feeling the need to spell out everything.
It’s also riddled with exposition for the story’s supernatural lore, which is presented in the most basic way possible. Huston and Sami Bouajila get the most expository lines, and neither can elevate them; no one really tries, to be honest.
Director Rupert Sanders’ action sequences are unremarkable, uninspired, and often tedious. The film’s biggest set piece, a showdown between Eric and multiple guards at the opera, is impressively choreographed, queasily gory, and convincingly performed by Skarsgård. Yet Sanders’ camera remains detached and monotone, creating a separation between the action and his lens that makes the whole proceeding less impactful than it should be.
What’s especially frustrating is that based on the first half hour, Skarsgård, Twigs, and even Sanders were all more interested in telling a dark love story than the messy mix of genres that is The Crow. The film tries to be three things at once — a gothic romance, a revenge thriller, and a supernatural tale of hellish proportions — and can’t do any of them justice. If it had chosen to be just one or even two, the result would’ve been much better.
Despite its shortcomings, The Crow is an enjoyable enough film to warrant a watch, especially for hardcore fans of the genre. However, for anyone else, it’s a mediocre remake that fails to elevate itself above its forgettable peers.
Conclusion
The Crow is a remake that tries to be three things at once and fails to deliver on any of them. With a poorly developed screenplay and uninspired direction, the film’s best moments are its more personal, character-driven scenes. However, these moments are fleeting, and the film ultimately becomes a messy mix of genres that can’t decide what it wants to be.
FAQs
Q: What is the main problem with The Crow?
A: The main problem with The Crow is its underdeveloped screenplay, which is highlighted by clumsy dialogue and exposition-heavy scenes.
Q: Who stars in The Crow?
A: Bill Skarsgård plays the lead role of Eric Draven, with FKA Twigs as his girlfriend Shelly and Danny Huston as the primary antagonist.
Q: Is The Crow worth watching?
A: The Crow is an enjoyable enough film to warrant a watch, especially for hardcore fans of the genre. However, for anyone else, it’s a mediocre remake that fails to elevate itself above its forgettable peers.
Q: Is The Crow a good representation of the original 1994 film?
A: The Crow remake tries to pay homage to the original, but ultimately fails to capture the same magic. It’s a new, unique take on the story, but one that doesn’t live up to its predecessor.