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This film was doomed even before it opened in theaters yesterday. It was almost exhausting to hear people damn it before seeing it just because there is a certain 1994 film that is regarded as perfect in every way. Those that hold the rights to the property of James O’Barr’s graphic novels of The Crow have been trying to get a new adaptation off the ground for decades now only to see their progress snuffed out at every turn. Still, I would have loved to have seen Jason Momoa’s take on the doomed character as it would have been gloriously bombastic with a dash of over the top. Alas, that version never happened either but now we finally have a new movie version of The Crow to watch this weekend, it’s not the uproarious trainwreck that everyone is making out to be. Some have even gone as far as saying as it’s unwatchable. If it is, then why did I watch the entire thing. I do love bad films and if you fall into the category of those that loathe this iteration even before viewing then so be it but I’m still going to defend my decision as to why I didn’t hate it.
Does the 2024 version of The Crow have flaws. Yep! Oh does it have many but there have been numerous films in the past with said flaws that are still regarded as cult classics to this day so that’s not necessarily a bad thing. When Bill Skarsgard was finally revealed in first look images, I was immediately appalled by his look as it didn’t have a slither of O’Barr’s aesthetic but even with that wayside reveal, I was still a little hopeful that director Rupert Sanders would deliver a movie that I could finally watch as a double feature with Lee’s iconic entry. With that, and with the aforementioned flaws, I can literally say that after receiving not one but three infamous disasters of follow ups (boy, oh boy, were these some abysmal flicks) and on TV series that, besides starring a beloved martial arts action star, bore no resemblance at all to the source material, I finally have a decent film to accompany Lee’s. I say decent as I had issues with it but nothing that won’t stop me from viewing it again in the future.
I will say that this is finally the second-best Crow film outside of director Alex Proyas’ doomed version which is probably raised to a higher bar because of the tragic and massively untimely death of its star on set. This film is not a remake and anyone who calls it that has no idea what they are talking about. This is another interpretation of the source material, and it is a bold one that will certainly turn off diehard fans a swell. As a standalone gothic revenge thriller, The Crow does its job with Skarsgard selling the role and making it his. The film is criminally unevenly paced and there are some out of left field choices made with the plot and design, but I still had a goodtime with it and maybe I was just in the right mood to watch a viciously savage and gory vengeance thriller with a very foreboding tale to tell.
The premise of this version has absolutely nothing to do with the 1994 film or the graphic novel for that matter, but I always say that the source material is simply just that. material to which filmmakers can adapt, change and do different things with the characters and that world. This version of The Crow sees this interpretation of Shelly (FKA Twigs) doomed from the start because her mother made a deal with the devilish and vile Vincent Roeg, played with slimy reserve by the always game Danny Huston, who is a stain on society and an immortal who maintains his long living tenure by corrupting young souls and sending them to hell in a Faustian pact he made with the devil. It’s a plot thread that is never truly fleshed out, but I went with it and took the ride anyway. Twigs does an admirable job selling the role but once her character meets her demise, she is merely an afterthought to Skarsgard’s Eric (we never know his or Shelly’s last name to further distance this pic from the other one) who takes complete control of the vengeance tipped flick. Why they didn’t choose to just pick new names for them is a curious thought, but I guess they kept the first names so mainstream audiences could still maybe connect with the ’94 film.
Skarsgard’s Eric is a delinquent youth with a sad past who we meet in rehab when Shelly goes there to hide from those who seek to do her harm. There will be the inevitable comparisons between Skarsgard and Lee and this is unwarranted as they are two entirely sellers sides of the same coin. I will say that Skarsgard’s take is less romantic hero and more unabashed fury but that’s another aspect as to why I liked what he did with it. It’s different and unpopular but oh so daring.
Upon arrival Shelly automatically connects with Eric and the two ignite a love affair culminating in their escape from the rehab center. Once they are free, we are treated with some lovingly and touching quiet moments between the two as their love grows and while many will deem this start to the film slow and muggy, I applaud Sanders for giving us some time with the lead characters, so we care a little when the inevitable bad things happen to them. Are these scenes a little over the top with the visuals and imagery. You bet but I see what they were doing with it so I held on to see if I would be rewarded in the end.
Of course, the baddies catch up with our Romeo and Juliet and the inevitable happens as both are mercilessly killed by Roeg’s henchmen. There is also a video on a phone that was shot showcasing Roeg’s antics and what he is capable of I forgot to mention, and this adds to the why Shelly was doomed from the start with Eric suffering the same consequences as he is caught up in all this.
This is where the movie finally takes off as Eric is carried to a sort of purgatory where we meet his connection between the afterlife and the real world in the form of Kronos (Sami Bouajila). I believe this character was infused so those unfamiliar with the story can get caught up. It’s Kronos who tells Eric that he has been spared from going on because sometimes, just sometimes, something so bad happens that a crow is sent to make the wrong things right. It is here where Eric learns of what is meant of him and we finally get what we came for. I mean Kronos says the words verbatim just in case there is a viewer out there that isn’t sure what the hell is going on.
I won’t bore you with anymore plot points as Eric descends on his kill mission of revenge which unfortunately is hampered by the fact that he is uncertain of what he has become, and it still takes time for him to fully embrace who and what he is. I’m not going to compare this one to Lee’s film, but I will say that what I did love about the 1994 film is that it hit the ground running with Lee’s Eric running the gauntlet from the word go. This Crow takes its time and that is fine as we see the characters fleshed out more. Sanders intended us to spend more time with Eric and Shelly, and while this is an unfortunate trope in today’s cinema where we have to slug through two/thirds of a movie before we get to the good stuff it works well here and we care more for our star crossed lovers. At least for me.
One major aspect I had issues with is that it appears that parts of the film were left on the cutting room floor as there are several characters that it would appear were meant to affect the plot more, but they simply just come and vanish with no explanation. One such character is Eric’s friend to whom gives him a gun when he asks. I felt like there was more between the two and for whatever reason, he is merely just there to move things along and to get killed by the bad guys. There’s also Roeg’s crew who are with him for various reasons we never learn of. It’s like he just has a hold on people and he uses his charisma and devil powers to make those around him succumb to evil.
There is also little, if any, explanation as to why and how Roeg does what he does. The character simply tells the viewer what he does and we just kind of go with it. It’s like, hey, this guy made a pact with the devil, duh. Maybe sometimes little explanation is better than too much? I’m not sure but once again, it was enough for me to watch and see what happens next.
All this affects the pacing throughout which does bog down the film in certain aspects but it’s the last third of the film that saves the day. Once Eric embraces his full-on Crow persona, he makes it his own and does something different with it which I was on board for. The latter half of the movie has some great set pieces and while this Crow is more of a supernatural thriller with dramatic overtones, it still has its savage action beats to be had. The action design, when it comes, hits you over the head with blunt force trauma and the gore is horror movie worthy and unsettling at times. The CGI blood is noticeable at times which did take away some of the impact for me, but the finale is a chef’s kiss for me as Eric makes his assault on Roeg and his group at an Opera.
The Opera sequence alone is worth the price of admission, and I feel that this scene will achieve a cult status of its own as it is nicely shot and edited, and you can see all the gore splattered glory on display. This is Eric’s defining moment as he embraces his indestructible anti-hero persona as he carves a rather nasty path of carnage and death utilizing guns and a sweet Katanna sword. This sequence would give the best moments of Hellraiser a run for its money and I must say that I prefer this showdown than the one with Brandon Lee doing his thing at the end of that film. Don’t get me wrong. I love that sequence but if I were to pick one, it would be this sequence of unbridled and in your face destruction. The separation of one assailant’s jaw line from the rest of his face was a F**k Yeah! moment for me. It was both unsettling and awesome all at the same time.
The inevitable showdown between Eric and Roeg suffers due to the Opera scene as it is more downplayed and anti-climactic, but it still has to happen. During the sequence, I would have liked to have seen Eric cut his way through some more men but at the end of the day so be it as the initial action sequence was worthy enough to stand on its own. It’s that good and for someone like me who has been watching action films for decades, it takes a lot for me to be impressed.
Again, this is not, I repeat, not a remake of the 1994 film so with that, this movie has its own distinct look and feel as the noirish vibes of Lee’s version give way to a more modern tone with DP Steve Annis instilling a more realistic tone here. It works to separate this movie from the aforementioned and I was a fan of it as it seems movies like these always go for that dark, obtrusive, neo-noir style aesthetic. Again, I’m comparing when I said I wouldn’t, so I’ll stop now.
Overall, with all the problems I had with The Crow, I’m still giving it a pass. This iteration will definitely not win any naysayers over but for those of us who can watch it for what it is will still find enjoyment with it. The movie as a whole. Decent. I liked it. A bold reinterpretation of the source material and completely different than Lee’s in every shape and form. Does it have flaws? You bet it does, but this isn’t the train wreck people are crying and bitching that it is. This is not a remake either. If you think that, then you simply have no idea what you’re talking about. Skarsgard is a solid actor for this generation, and he proves once again that he can do both drama and action and mix up genres. Like I sated earlier, the opera scene alone is a chef’s kiss for me. Horror movie gore flows like water and the action is blunt and brutal with some unforgiving and unflinching brutal and savage action design. I probably gave the extra half a point in my score because of this sequence but it is certainly worthy of respect when it comes to R rated mayhem. It’s just a shame that there are many who won’t be able to seperate this film from the other. This is an entirely different beast. I will end this review by saying as a fan of the graphic novels, I can say that I finally have my second Crow feature film to watch alongside with Lee’s version as a double feature. It only took 30 years.
VERDICT: 3.5 Out of Stars
The 2024 iteration of The Crow is a bloody and convoluted mess, but it is a glorious and watchable bombastic mixture of savage vengeance and undying love.
