The Crow Review: A Lot of Caw-Caw

When deciding which films deserve a remake, it’s generally those with great premises but questionable execution that benefit the most. However, Alex Proyas’ 1994 version of “The Crow” is quite the opposite candidate. On paper, it’s a generic revenge narrative that found a cult following due to its gothic style, a stellar soundtrack, and Brandon Lee’s memorable performance. Lee’s tragic death during the film’s production added an indelible aura to its legacy. So, what purpose does a remake serve without those iconic 1990s aesthetics and Brandon Lee’s role?

Director Rupert Sanders and screenwriters Will Schneider and Zach Baylin might argue that the 2024 version of “The Crow” is not a remake but another adaptation of James O’Barr’s underground comic series. Even so, it’s a very loose adaptation, one unlikely to win over fans of the comic or the original movie. I don’t harbor nostalgia for the 1994 film, having only recently seen it. While it might have been the epitome of cool for teenagers back then, my personal cinematic heroes lie elsewhere.

Thus, I was more open to this remake than most. I do believe the team had one good storytelling instinct: expanding the relationship between Eric (Bill Skarsgård) and Shelly (FKA Twigs) before their tragic demise and Eric’s subsequent resurrection for revenge. Whereas the characters in the ’94 film were more symbolic of grief, this remake had room to make them more relatable. Unfortunately, almost every other decision undermines the principles of good drama, entertainment, and messaging.

The 1994 “The Crow” is a revenge action movie featuring an invincible undead antihero who kills criminals in ironic ways while brooding and occasionally playing the guitar. The 2024 version, however, takes almost the entire runtime of the original just to morph into an action film. It nearly takes 45 minutes to reach the initial murder, and another 40 for Eric to learn his resurrected abilities before he enacts revenge. All significant fights occur in the final act, most of which are spoiled by trailers. Some may find the opera house brawl fun, but it’s too little, too late.

In stark contrast to the old “Crow,” known for its soundstage universe of perpetual nighttime akin to Tim Burton’s “Batman” films, the new movie’s setting feels like the real world. Shiny but bland imagery predominates, only borrowing from David Fincher’s works during the opening credits. The soundtrack lacks memorability, reflecting the diminished role of rock music in contemporary culture. And making Eric resemble Jared Leto’s Joker? That’s definitely a choice.

Setting aside comparisons, does this story work on its own merit? Not really…

Evaluating the remake on its own terms, a fundamental issue arises: it focuses on the wrong main character. In the first act’s romantic drama, FKA Twigs’ Shelly is far more appealing than Bill Skarsgård’s Eric. They’re both tragic, sad drug addicts, but Shelly has charisma and an actual connection to the villains, unlike the mopey Eric. Shelly has a tattoo that reads “Laugh Now, Cry Later,” whereas Eric’s reads “Cry Now, Cry Later.”

Instead of the gangsters from the comic and original film, the antagonist here is Vincent Roeg (Danny Huston), a Satanic figure who mind-controls women to extend his life. Replacing literal rape scenes with supernatural metaphors could be seen as a push towards feminism. But if the goal was a feminist narrative, why not have Shelly resurrected by the crow spirit? She has more motivation for revenge, and her story would be more compelling. Eric’s quest to bring Shelly back to life, culminating in a plea for sequels, lacks the depth of a narrative about processing death.

It’s unclear who would appreciate this remake. Teenagers won’t find it cool, old fans won’t feel nostalgically fulfilled, and no one else is likely to buy a ticket.

“The Crow” opens in theaters on August 23.

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