The Crow: Cinematic Cynicism at Its Most Forgettable

One of cinema’s most rewarding elements is witnessing how artistry can flourish under any circumstance. Movies made with threadbare budgets and minimal resources often shine, driven by powerful creativity rather than cynicism. Earlier this year, I experienced a comedy titled Fantasy A Gets a Mattress. Created on a shoestring budget of $3,800, this Seattle-set film is packed with memorable characters, quirky jokes, and inventive filmmaking. It serves as an inspiring reminder that striking cinema "can come from anywhere."

In a world where some filmmakers extol the "virtues" of A.I. cinema lacking humanity, and shareholders declare the death of theatrical movie-going, indie films brimming with vibrant creativity are more crucial than ever. The indie scene continues to thrive with movies that push the boundaries of visual, audio, and emotional storytelling. Always around the corner is another scrappy, inventive film ready to rekindle your love for cinema.

However, with the good comes the bad. In 2024, we have The Crow, directed by Rupert Sanders. This adaptation of James O’Barr’s comics, previously adapted in the 1994 Brandon Lee film, comes with a hefty $50 million budget but lacks the imagination that makes smaller independent films so appealing. The screenplay by Zach Baylin and William Schneider starts with a young Eric experiencing his favorite CGI horse’s death. The story then introduces Shelly (FKA Twigs), who possesses a video that could incriminate crime lord Vincent Roeg (Danny Huston) and his demonic associates. This video puts Shelly and her friends on the radar of Roeg’s violent minions. To escape, Shelly hides in a rehab clinic where the grown-up Eric (Bill Skarsgard) also resides.

In the clinic, a romance blooms between Shelly and Eric. They have a few happy days together before Roeg’s henchmen murder them both. In the afterlife, the spirit Kronos (Sami Bouajila) gives Eric a mission: return to the living world as a super-powered avenger to kill their murderers and possibly bring Shelly back. The film then embarks on a bloody revenge plot.

Rupert Sanders, known for diluting the fantastical in Snow White & The Huntsman and Ghost in the Shell, continues this trend with The Crow. The film’s visuals are dazed and aloof, lacking any real commitment. The aesthetic, full of moody colors and brooding atmospheres, aims to evoke a certain edginess but fails to deliver anything beyond generic angst.

The film suffers from a self-consciousness that undermines its intended tone. Unlike the confident self-expression found in classic emo or punk music, The Crow is timid and half-hearted. It even struggles with its theological framework, leaving afterlife concepts poorly defined. The convoluted screenplay bogs the movie down with expository dialogue and unnecessary explanations of its lore.

A telling example of the film’s missteps occurs when Eric dons the iconic Crow makeup—not from Shelly’s makeup kit as in the 1994 film, but from a dead friend’s tattoo ink. This revision feels drawn-out and serves to reassure insecure audience members rather than making a stylistic statement. It also highlights a frustrating trend: superhero characters not donning their outfits until the film’s final act. A truly punk/emo film would break such conventions.

Every element of The Crow feels derivative or overly complicated. This includes Eric’s gruesome final swordfight, set to classical music. The film’s attempt to flesh out Eric and Shelly’s relationship before her death feels stilted and uncomfortable. Directors like Nicole Holofcener excel in depicting romantic connections, but Sanders falters here. Eric and Shelly’s romance is reduced to cliches and montages, leaving their characters underdeveloped.

Once on his own as a super-powered avenger, Skarsgard fails to bring a distinctive personality to Eric. Known for his wild roles, he is constrained here, making his casting puzzling.

Ultimately, The Crow is a gloomy, buttoned-up slog lacking even the amusement of "so-bad-it’s-good" films. Audiences may find any joy in this film minimal, save for possibly some unintentional humor in its CW-esque set designs. The film’s long road to completion—16 years and $50 million—culminates in a product that lacks the creativity of a low-budget indie film like Fantasy A Gets a Mattress.

Therefore, if you’re looking to explore the infinite creative possibilities of cinema, find films like A Town Called Panic or Mandy and give The Crow a miss.

Source: RitzPix