The Crow – Film Review

When news broke that Rupert Sanders would helm a reboot of The Crow, with Bill Skarsgård cast as the iconic avenger Eric Draven, there was a mix of trepidation and anticipation among fans of the cult classic. Based on the 1989 comic book series by James O’Barr, The Crow had a troubled legacy, with each successive film falling further from the haunting beauty and raw emotion of the original 1994 film. Unfortunately, this latest iteration, despite a promising premise and a talented cast, fails to resurrect the spirit of its predecessors in a meaningful way.

The film sets out with a fresh take on Eric Draven’s backstory, introducing us to a troubled youth who loses his beloved horse and endures a strained relationship with his alcoholic mother. This early glimpse into Eric’s past aims to lay the groundwork for his emotional depth but instead feels like a rushed exposition dump, lacking the subtlety and nuance needed to engage the audience from the start.

In the present day, Eric resides at an institution for troubled youth where he meets Shelly, portrayed by FKA Twigs. The two form a bond, a bright spot in the otherwise grim setting. Shelly’s backstory, involving her escape from crime lord Vincent Roeg and a compromising video, offers a glimmer of intrigue. However, the screenplay by Zach Baylin and William Schneider struggles to flesh out her character beyond the role of a damsel in distress, which feels like a missed opportunity given FKA Twigs’ capabilities.

As Eric and Shelly’s relationship blossoms through their shared love of music, the film momentarily finds its rhythm, offering glimpses of the tenderness and passion that drove the original story. However, this is short-lived, as Roeg’s men quickly find and murder them, propelling Eric into the afterlife where he is tasked by a spirit guide, Kronos, to avenge their deaths.

Bill Skarsgård as Eric/The Crow is a casting choice that promised much but delivers inconsistently. Skarsgård brings an eerie, almost ethereal quality to the role, but his performance feels restrained, never fully capturing the anguished intensity that Brandon Lee famously brought to the character. Moments that should resonate with raw emotion often fall flat, leaving the audience detached rather than empathetic.

FKA Twigs as Shelly is a standout, though her character is given limited scope. Her chemistry with Skarsgård hints at a deeper connection, but the script doesn’t allow it to flourish. Danny Huston as Vincent Roeg brings a menacing presence, yet his character lacks the complexity to make him a memorable villain. Josette Simon as Sophia and Laura Birn as Marian offer competent support, though they, too, are underutilized in a narrative that feels overstuffed yet underdeveloped.

Rupert Sanders is no stranger to visually arresting films, and The Crow is no exception. The cinematography by Steve Annis is lush and atmospheric, with gothic hues and shadowy landscapes that evoke the dark, moody essence of the original. The scenes in the afterlife, particularly the warehouse filled with crows, are visually striking and hint at a world brimming with untapped potential.

However, Sanders’ direction falters in pacing and tone. The film oscillates between rushed action sequences and languid, reflective moments without finding a harmonious balance. The relentless vengeance plotline grows repetitive, and the emotional beats fail to land with the intended impact, leaving the narrative feeling disjointed.

The central themes of love, loss, and vengeance are core to The Crow mythology, but this reboot struggles to explore them with the depth and poignancy they deserve. Eric’s journey to avenge Shelly and himself should be a cathartic, soul-stirring odyssey, but instead, it feels like a checklist of revenge tropes, devoid of the profound emotional resonance that made the original so compelling.

The Crow is a visually captivating but emotionally hollow experience. Despite a promising cast and the potential for a compelling reboot, the film stumbles under the weight of its ambitions. Bill Skarsgård’s subdued performance and Rupert Sanders’ inconsistent direction result in a movie that, while not without its moments, fails to capture the tragic beauty and raw emotion of the original.