Review of the movie “The Crow” - a new adaptation of the cult comic book with Bill Skarsgard
Cute bloody obscurantism in the best traditions of “John Wick”.
Gothic thriller “The Raven” by Alex Proyas - a rare example of a successful Hollywood movie, the reboot of which from the very beginning seemed a rather unsuccessful, albeit relevant idea. The accidental death of the performer of the main role Brandon Lee became for the picture both a curse and a gift - unwitting symbolism fell into the hands of greedy corporations. Audience engagement with the tragedy was skillfully monetized for an entire decade, but each new installment of “The Crow” somehow mystically managed to be worse than the previous one. By the time “The Raven: A Cruel Communion” was released in 2005, the inspiring tale of love and revenge had finally turned to dust, and the comic book's cult appeal was forgotten under the onslaught of real-life events.
However, four years later, James O'Barr's graphic novel was again in the crosshairs of movie studios - this time it was about a full-fledged reboot of “The Crow” with an emphasis on realism, all in accordance with the precepts of Christopher Nolan. At different times for the role of Eric Draven claimed Mark Wahlberg, Channing Tatum, Ryan Gosling, Bradley Cooper and even Jason Momoa. The latter, by the way, managed to get close to the “Raven” closest to the others - the production with his participation, which started in 2016, was cut off halfway, without clear explanations and reasons. Nevertheless, the Internet still remembers test shots of Momoa as the main character. After another six years, it became clear that the new “Raven” still be: with Rupert Sanders (“Snow White and the Huntsman”) as director and Bill Skarsgard (“It”) as protagonist.
The plot of the sixth film adaptation of The Crow only indirectly follows the letter of the original. The main characters - millennial informals Eric (Skarsgard) and Shelly (Fka Twigs) - meet in a rehab, where they work through childhood traumas and atone for youthful sins. The taciturn Eric quickly dissolves into the smiling Shelly - the two bond and run off into the unknown. The love tripe falters on the threshold of a sinister reality: a powerful man from Sherry's past (Danny Huston) decides to get rid of the couple, but not by himself, but with the help of gangsters. The lovers are killed, but Eric manages to resurrect. Under the watchful eye of a raven - a guide between the worlds of the dead and the living - Eric goes in search of the offenders, whose murder can save Shelly's soul from the torments of hell.
Long before its immediate release, “The Raven” had garnered an unwarranted level of heath, some of which was fueled by Alex Proyas himself, eager to “nip” any remakes in the bud. Many devoted fans of the original adaptation also perceived the new version of The Crow as sacrilege and an insult to the memory of the tragically deceased actor. Prejudices seem completely unfair in light of the fact that Rupert Sanders' “The Raven” is not another attempt to make money on the sacred image of Brandon Lee, on the contrary, this is a new look at a familiar story, skillfully adapted to modern realities. James O'Barry's original comic book followed the popular sexist trope of the “woman in the refrigerator,” in which the heroine is sacrificed for the sake of advancing the main plot. Proyas' screen adaptation largely inherited these traits - Eric Draven was turned into an eternal martyr, and the film's leitmotif was the theme of revenge. Without changing the common components, Sanders made a movie of a completely different mood, his “The Raven” - a dark, slightly sentimental tale about the immortal bonds of love and untamed souls seeking to find peace.
Bill Skarsgard and Fka Twigs - two men with the most textured looks possible - become the main driving force of the plot and probably its only reliable weapon in the fight against the wave of scathing criticism. Their mutual eccentricity, spontaneity and surprising organicism in the frame help “The Crow” to spread its wings and fly away from any kind of comparisons with its heavyweight predecessor. As for the theme of revenge, stylistically Sanders comes closer to Proyas' comic book origins. In rare moments of brutality, the new Raven defiantly avoids firearms. Armed with a katana, Eric colorfully crushes skulls, breaks bones and amputates limbs - in the best traditions of Hong Kong action movies and “John Wick”. Realizing his helplessness in the face of Chad Stahelski's witty fight choreography, Sanders plays out a reckless bloody ride and, oddly enough, wins.
For all its likability, the new Raven can hardly escape the curse of Alex Proyas. Sanders' adaptation feels unassembled and contradictory, echoing the long back-and-forth arguments and the film's vulnerable creative politics, which Bill Skarsgard himself has repeatedly spoken about in interviews. Nevertheless, The Crow manages to dust off a half-forgotten franchise without resorting to mimicry or flirting with nostalgic references, which in itself can be considered an achievement.
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