For decades, it has been widely acknowledged that attempting a reboot or remake of The Crow would be a challenging endeavor. Alex Proyas himself has consistently emphasized this viewpoint, and fans such as myself have echoed similar sentiments on social media; The Crow does not require a modernized version because the 1994 film stands alone. It is timeless, eternal, and deeply rooted in its era—an era characterized by ambitious attempts and bold risks. The Crow’s status as a cult film is largely due to Brandon Lee’s presence and performance; Eric Draven is irreplaceable in that role. Additionally, Brandon Lee’s tragic death during filming further contributes to the film’s unique place in cinema history. Nevertheless, it is well-known that Hollywood constantly seeks to revitalize its past by revisiting old projects, and as expected, The Crow 2024 has become a reality. Despite warnings of potential artistic and commercial failure, here we are.
For decades, there has been a prevailing view that rebooting or remaking The Crow is destined for failure. This sentiment has been echoed by Alex Proyas and fans alike on social media. The 1994 film stands alone as timeless and eternal, deeply rooted in its era—a time marked by bold risks and creative ventures. The Crow’s status as a cult classic is largely attributed to Brandon Lee’s mesmerizing presence and performance as Eric Draven; his untimely death during filming further cemented the film’s place in cinematic history. However, Hollywood’s tendency to revisit past works remains undeterred, leading to the anticipated release of The Crow 2024. Despite these expectations, the new version is likely to face artistic and commercial challenges, as warned by critics familiar with the original’s unique legacy.
In the execution, Rupert Sanders is involved, who had not produced anything noteworthy since his work on “Ghost in the Shell” with Scarlett Johansson, another ambitious adaptation that fell short. Despite this, there were some positive aspects to be found. However, despite the team’s efforts to create something beyond a straightforward remake and their commendable intentions, the 2024 version of “The Crow” is considered a failure. This failure stems from the filmmakers’ inability to capture the essence of James O’Barr’s work. While “The Crow” is fundamentally a revenge story about a man who returns from the dead to punish those responsible for the death of his fiancée, it is much more than that. It is primarily an intimate exploration of unattainable grief, which this remake fails to convey accurately.
In this 2024 version, the screenwriters have chosen to retain the characters of Eric Draven and Shelly Webster, but their portrayal has been entirely reimagined, which appears to be a significant misstep. Given the numerous differences from the original characters, it would likely have been more prudent to introduce new protagonists rather than alter the essence surrounding Eric and Shelly. This approach mirrors many sequels and TV series that have consistently failed to live up to expectations. By altering Eric Draven and Shelly Webster, one interferes with the sanctity of James O’Barr’s original work and, most critically, disregards the memory of Brandon Lee, a sensitive and perilous act.
It is particularly regrettable that the comic resonates with James O’Barr’s personal history, as he lost his girlfriend after she was struck by a drunk driver. Alex Proyas further emphasized this in his film version by adding extra scenes between Eric Draven and Shelly Webster to highlight their profound love for each other. In these scenes, the two lovers about to marry are brutally murdered, underscoring the forceful nature of their deaths, with Eric and Shelly being suffocated in plastic bags. This scene was relatively successful but had a lesser impact on the story and characters compared to the original brutal murder. What justified Eric Draven’s violent and cruel actions upon his return from the dead was precisely the shocking murder of himself and especially Shelly, who was raped in his presence. In the remake version, everything feels forced, particularly the relationship between Eric and Shelly, which lacks believability. They meet at a detox center, fall in love quickly, and spend the first 20 minutes of the film engaging in intimate scenes. The artificial nature of their relationship is evident on paper, compelling Rupert Sanders to emphasize their romance visually. The initial part of the film focuses extensively on these poorly written relationships, depicted through crude love scenes that reflect contemporary times but are disconnected from James O’Barr’s imagined characters. This approach is reminiscent of a post-adolescent treatment akin to Twilight, which is quite awkward, especially considering FKA Twigs’ unremarkable performance as Shelly Webster. The character becomes almost antagonistic at certain points, making her subsequent murder feel indifferent.
A REMAKE, YES, BUT DIFFERENT
The remake takes risks that warrant appreciation, particularly in its effort to anchor this version in contemporary times, the 2020s. This approach presents an emo-fragile rendition of Eric Draven, who bears a striking resemblance to Ninja Theory’s Devil May Cry character, complete with tasteless tattoos akin to Jared Leto’s Joker, a mullet hairstyle, and a sword earring. The look was already controversial in the trailers and even more so in the full film, leading one to question whether those responsible for Eric Draven’s appearance learned from the negative reception of Jared Leto’s Joker.
In the 2024 version of The Crow, Rupert Sanders does not aim to replicate Proyas’ film but instead distances himself from it. Proyas’ distinctive clip-like aesthetic is replaced by a darker style that lacks flair in artistic direction. Apart from an impressive opening credits sequence and some decent shots, including the opera massacre scene featured in trailers, Sanders opts for conventional staging similar to current mainstream Hollywood productions. Consequently, the direction misses the mark in terms of creativity and risk-taking, which is unfortunate since The Crow could have provided a platform for its director to showcase his own unique vision.
Cursed Bird
And what to say about the choice to assign an unprecedented and additional mission to Eric Draven, who learns through a new character, Kronos, played by French actor Sami Bouajila, that it is possible to resurrect Shelly. This decision marks where the entire interest of the film diminishes. What made Draven’s vengeful mission compelling was knowing his return was one-way, with no possibility of returning to the fleeting world of the living. Now, in the film, Eric Draven constantly travels between the world of the dead, or at least its threshold, and that of the living, with a transformation equally cartoonish, almost treated like a superhero movie. What a disappointment…
There is not much to salvage in this remake of “The Crow,” except perhaps an attempt not to directly copy Alex Proyas’ film with Brandon Lee. However, the problem lies in straying too far from the original material, resulting in no connection left with James O’Barr’s work. Characters are significantly altered and often portrayed negatively; the film lacks a soulful atmosphere, the direction is mediocre, and relying solely on nostalgia for classic films is insufficient. It is quickly forgotten after being seen.
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