The latest reboot of the 1994 goth revenge thriller The Crow has been universally panned as a catastrophic misfire. The film, which languished in development since 2008 and underwent numerous changes in directors and actors, has finally arrived in theaters two years after filming wrapped. Unfortunately, The Crow 2.0 has proven to be an incoherent, poorly made disaster, further reinforcing its position among the most egregious and pointless remakes.
The original The Crow was a solid film, elevated by Alex Proyas’s distinctive direction and the tragic presence of Brandon Lee. While a remake was never necessary, it presented an opportunity for a fresh take on a well-trodden story. Instead, writers William Schneider and Zach Baylin opted for a direction that fails to capture the essence of the original. Baylin, known for his work on films like Creed III and King Richard, falls short here by crafting a narrative that is both derivative and dreadfully executed.
In this reboot, Bill Skarsgård takes on the role of Eric Draven, previously portrayed by Lee. However, Skarsgård’s Draven is devoid of the original’s complexity, reduced to a mere brooding figure characterized by drug use and tattoos. His love interest, Shelly, played by FKA twigs, is introduced in a rehab facility where their relationship develops in a series of clichéd montages. The plot follows their tragic fate at the hands of a villain, portrayed by Danny Huston, who forces innocent people into terrible deeds. Draven’s return as an avenging spirit fails to evoke the emotional impact intended.
The film’s attempt to capture an all-consuming emo romance falls flat. The performances by Skarsgård and twigs are uninspired, lacking the depth needed to make their tragic love story compelling. Skarsgård’s performance is limited to action scenes, where he is physically convincing but emotionally shallow. Twigs’s portrayal is equally uninspiring, failing to convey why her death should prompt such extreme vengeance.
The decision to alter the original storyline, which involved a couple targeted by a crime lord due to their opposition to forced evictions, results in a bizarre and ineffective update. The new plot leans into fantasy, losing the gritty realism of the original and instead resembling a poorly executed CW pilot. The film’s setting is confusing and lacks the immersive quality of the original’s graphic novel-inspired metropolis. The narrative is muddled and the film’s logic is difficult to follow, with only one notably familiar action sequence providing a semblance of satisfaction.
Director Rupert Sanders, whose previous works include Snow White and the Huntsman and Ghost in the Shell, has delivered yet another poorly received film. Sanders recently described the production as a “struggle,” a sentiment clearly reflected in the film’s strained and incoherent presentation. The effort to salvage the project is evident but ultimately unsuccessful.
The Crow is currently showing in cinemas across the US, Australia, and the UK, and it stands as a stark reminder of how a reboot can falter spectacularly when it strays too far from its roots.
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