The Crow” Is an Incredibly Poor Imitation of “Joker

In Hollywood, much like in the world of comics, the dead often find a way to return. Thus, it’s no surprise that The Crow has been resurrected 30 years after becoming a ’90s goth icon and cementing Brandon Lee’s legendary status following his tragic death during its production.

Rupert Sanders’ reboot, arriving in theaters on August 23, follows a similar premise to its predecessor. An innocent man is murdered along with his beloved and returns as an avenging angel of death, driven to eliminate his killers. However, while Alex Proyas’ original film, based on James O’Barr’s comic book series, created a uniquely dark and brooding identity, Sanders’ version feels like a pale imitation. The new protagonist, a wrathful punisher in a Matrix-esque raincoat, is covered in tattoos, including facial ones that make him look like a parody of Jared Leto’s infamous Joker from Suicide Squad.

Bill Skarsgård’s portrayal of The Crow seems forced, with his character’s excessive tattoos coming off as a desperate attempt to appear ominous and macabre. The film strains to attain R-rated credibility at every turn. A climactic scene in an opera house lobby attempts grandeur through crosscutting between a stage performance and the Crow’s violent mayhem, which includes decapitations and other gory acts. However, this over-the-top violence, intended to be thrilling, instead feels sadistic and dull.

The story begins in an unnamed metropolis where Shelly (FKA Twigs) flees after her friend Zadie (Isabella Wei) sends her a mysterious video. This video, which remains undisclosed until halfway through the movie, is underwhelming despite setting off a dangerous chain of events. Zadie ends up in Hell—literally—thanks to Vincent Roeg (Danny Huston), a businessman who causes her to commit suicide via demonic whispers.

Vincent has made a Faustian deal, exchanging his soul for eternal life by procuring innocent souls for Satan. This job is tirelessly carried out with the help of his minions, led by Marian (Laura Birn). Shelly, trying to evade Vincent’s henchmen, gets herself arrested and sent to a recovery center that operates like a prison. There, she meets Eric (Skarsgård), a recovering addict who offers her friendship and eventually, love.

Their romance is slow to bloom, but when Marian comes for Shelly—with the help of Shelly’s mother, who betrays her for vague reasons—Eric aids in her escape. The pair hide in an apartment belonging to Shelly’s friend, engaging in a passionate affair while on the run. However, inconsistencies in the plot become apparent as they find time for leisurely activities despite being hunted.

The film struggles to ignite chemistry between its leads, making the first third of the movie a tedious watch. Things get more interesting once Eric and Shelly are murdered, and Eric finds himself in a melancholic purgatory resembling a dilapidated train station. Here, he meets Kronos (Sami Bouajila), who explains that Eric’s immense love couldn’t be carried to the afterlife, granting him a second chance to avenge his killers. If successful, he and Shelly will be reborn.

Despite this compelling setup, there’s no joy in Eric’s subsequent revenge campaign. The journey soon hits a snag when Eric learns the secret behind the video that started it all, leading to a convoluted new pact. Given a second chance at his vigilante mission, the film finally dives into its bloody business. Yet, Sanders’ action sequences are excessive without being innovative. The standout battle inside an SUV ends too swiftly to be thrilling.

The Crow is not only lethargic but occasionally ridiculous, marred by clunky plot points, shoddy CGI, and Skarsgård’s silly “artistic” tattoos. Before his final rampage, Eric uses makeup to draw lines connecting his eyes and mouth corners, creating a forced “smile” reminiscent of the Joker, which borders on embarrassing. Skarsgård struggles to overcome this silliness, and his lack of chemistry with Twigs diminishes the film’s attempts at a tragic love story.

The reboot leaves room for possible sequels, but this feels like the last in a series of unoriginal gestures. The dreary soundtrack, lackluster flashbacks, and a half-hearted attempt to deep-dive into Eric’s trauma further detract from the film.

Despite Danny Huston’s efforts to invigorate his role as an eternal-life-obsessed villain, it’s impossible to overcome the film’s uninspired aesthetics and lackluster execution. In the end, the movie’s clumsy delivery might just be enough to prevent any future continuations.

Source: The Daily Beast.