Review: Weighed down by too much muck and not enough myth, a slackly remade ‘The Crow’ flops

As a cinephile who has spent countless hours immersed in the gritty underbelly of urban dystopias and rain-soaked wastelands, I can confidently say that “The Crow” remake directed by Rupert Sanders is a cinematic misfire. It’s like someone took a sledgehammer to James O’Barr’s graphic novel and left a pile of rubble in its place.

The dirty secret of urban hellscape movies drenched in rain and blood is that when it comes down to it, they don’t so much trigger worries about future blight as they do tourism fantasies. (When are theme parks going to figure out that “The Blade Runner Experience” would surely break attendance records?)

Alex Proyas’ 1994 film “The Crow,” based on James O’Barr’s graphic novel, delivered a dark, tangible revenge story in a grungy Detroit with the flair of a twisted circus. However, today’s market is flooded with dystopian movies, and we seem to have lost that level of immersive storytelling. The recent adaptation of O’Barr’s tale, also titled “The Crow,” directed by Rupert Sanders, falls short in this regard. It feels more like a dull, ordinary, and uninteresting retelling rather than an entertaining spectacle, almost serving as a counter-argument to entertainment.

In this new chapter, Bill Skarsgård takes on the role of our resurrected avenger, a spectral figure with a troubled past. Prior to adorning his eyes with black makeup for a fateful encounter with destiny guided by crows, we’re given extensive scenes where he portrays Eric, a solitary and melancholic character still grieving the loss of his childhood horse (yes, you read that right). Set in an isolated rehab center where the dress code is peculiar pastel pink, Eric spends his days in a state of depression.

The happiness of the couple, seemingly trapped in a never-ending performance for the role of eternal bliss, is disrupted when the henchmen of Shelly’s ominously evil patron, Mr. Roeg (portrayed by Danny Huston), track them down and end their lives. However, Eric survives, finding himself in a desolate railway yard filled with crows, a gloomy place where an older guide (Sami Bouajila) reveals that Eric can save Shelly from the underworld if he returns to take revenge. A positive aspect for Eric: he cannot be killed. Unfortunately, for us, this means there are no high stakes involved and we’ll have to wait more than an hour before any form of retaliation occurs.

Later on, when Steve Annis’ cinematography and Robin Brown’s production design have numbed your perceptions, you may crave action scenes, and wonder about the capabilities of a samurai sword. For those who love violence, the movie’s scene set in the opera house might not fall short (it won’t exceed expectations either), but the moment where invincible Eric is meant to experience pain – something Brandon Lee once made so vividly human – tends to be overlooked.

The violent tale centered around their love seems more dull than intriguing, and the reason for Shelly’s murder is even less compelling. It’s plausible that Eric’s revenge isn’t solely about Shelly, but also the horse, a character who lacks depth and won’t significantly impact Twig’s reputation as a captivating multidisciplinary artist. Huston’s portrayal of villainy will likely remain unscathed, although I suspect that scene of him closing his eyes—apparently in a monstrous trance—is actually an effort to recall past, more satisfying roles.

The primary concern here seems to be with Alexander Skarsgård, an accomplished actor known for his powerful presence and expressive eyes that hint at turmoil, yet finds himself in the stage following his “It” breakout where he’s still being tested. However, held back by a mediocre, uninspiring script penned by Zach Baylin and William Schneider, Skarsgård appears to struggle, failing to conjure the epic energy portrayed by pre-rebirth Eric. Regrettably, despite the numerous deaths in the film, “The Crow” suffers a creative demise in this production.

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2024-08-23 18:31