The Crow is perhaps the most romantic, bloodiest time you can have at the movies so far this year. Despite a painfully dull script, Bill Skarsgård and FKA Twigs bring the iconic gothic romance to life in a film with some of the goriest kills of the year. If Bill Skarsgård is covered in blood, you’re in for a good time and The Crow is no exception. 

This review contains slight spoilers for The Crow.

As a massive fan of the 1994 adaptation from Alex Proyas, the idea of a reimagining of The Crow has always been something I knew would come but never felt was needed. In the latest version, Rupert Sanders smartly makes his vision of the famous story entirely his own and never a ‘remake’ of what came before with Eric and Shelly. If you head into the film angry it looks nothing like the original film, you’re never going to enjoy it as Sanders and his team bring to life a different version entirely inspired by the graphic novel’s hauntingly romantic and gothic imagery. Where the Proyas version focused on Eric’s all-consuming grief, Sanders allows audiences to be immersed in the love between Eric and Shelly before diving into the bloodiest, most violent time at the opera. 

The Crow immediately starts off different from any previous film adaptation with an insight to Shelly (FKA Twigs) before she meets Eric (Bill Skarsgård) as her friend calls her in absolute distress over a man they seem to have a secret on. Before long, her friend is taken by suspicious people and Shelly on the run winds up arrested leading to her landing in a rehab center. Once in the rehab center, Eric, who doesn’t speak, is immediately drawn to Shelly. As they eventually connect and bond over their love of music and poetry, Shelly’s past catches up with her as the suspicious people who were last seen with her friend arrive hoping to visit her. Eric and Shelly sneak out of the rehab center and run off together back to her place in the city. Once at her (beautiful) apartment, the two slow down for the first time since meeting and really begin to connect. This is where Sanders truly allows the romance to take focus and if you’re coming into this film only for revenge driven violence, you may not connect. Personally, my favorite part of the 1994 version is how romantic the story is driven despite never fully seeing Eric and Shelly together outside of his flashbacks. 

In a montage that could easily be set to Charli XCX’s ‘Everything is Romantic’ as Eric and Shelly dress up, make out, and just spend time in one another’s arms learning as much as they possibly can about one another. Despite the script and editing holding back from how much time has passed, if you’re accepting of the romance on screen, it’s easy to see why these two are falling for another. The chemistry between Skarsgård and Twigs is electric and encompassing as you see their auras on the same level perfectly complimenting each other. Despite Skarsgård’s Eric not actually being Eric Draven, his interpretation is still a very timid, soft man despite his tattooed exterior. Skarsgård, as always, brings such a luminous light to his role, no matter how much darkness is brewing even before tragedy strikes him and Shelly. Twigs is ethereal as we see her character balance an easiness with Eric while not fully admitting the trouble that looms over her life from before. If you’re not interested in the romance aspect of the story of Eric and Shelly, the first hour won’t be for you. However, the backstory of how they meet and fall in love serves as an exploration of Eric’s later motivations. The love story of Eric and Shelly is part of the lore of the original story of The Crowsource material, film adaptations, and plenty of emo fans (me included) treasuring the story overall; this film’s further inclusion of their love story allows for both Eric and Shelly’s sides of their love to be explored on screen and feels significant. 

As soon as both Eric and Shelly are killed, this is where the film’s pacing issues begin. Despite some incredible moments as Eric learns about his ability to survive (hello when he pushes his own internal organs back into his body), the story loses a lot of steam and drags within this second act. While this adaptation has a more unique villain with supernatural powers of his own in Vincent (Danny Huston), he’s not utilized enough to feel fully developed or interesting to watch. There could be a thrilling exploration of a wealthy businessman luring in young talent under the premise of offering them a new life and offering them to Hell in order to avoid himself going, but his entire motivations are just delivered in pointblank line delivery in order to the move the plot along. Sami Bouajila, always a favorite on screen, plays a guide to Eric in his purgatory where his quest to save his soul and Shelly’s is outlined in basic fashion. The Crow spends quite a bit of time sending Eric back and forth between the real world and the purgatory creating a serious lull in the revenge action. As the action builds up, there’s a real whiplash as you’re sent back to the purgatory for new rules to be explained. However, once the third act kicks off, it’s only blood, revenge, and fun for the sickos. 

When the third act kicks off, the real fun begins in The Crow. If you’re looking for a hyper violent, bloody time, this is where you’ll be satisfied. After agreeing to the ultimate sacrifice, Eric is reinvigorated with a fiery passion as he violently takes out those who wronged him and Shelly with shotguns to the face (both shot with and beaten with), offering cigarettes to the men he’s brutally murdered, and slicing up men with his sword. The highly debated makeup look of Eric in this reimagining only takes form once Eric is fully invested in fighting for revenge. As soon as he’s transformed into ‘the Crow,’ he heads to the opera for what is surely the bloodiest scene on film so far this year. Heads will roll, literally, and the fight choreography is a true standout in this final action sequence.  Skarsgård has proven twice this year now he’s a fully capable action star dominating the space with his height, but a real fire in his eyes. After many arms, heads, and other body parts are trimmed, there’s a real subtle moment where you can see Eric alone with his thoughts and the weight of what he’s done in the name of love. Skarsgård never loses sight of who Eric is through and through, despite the violence, blood, and gore. Fans of the actual source material will love what Skarsgård brings to Eric the entire film. 

The Proyas adaptation is a beautiful film with miniatures (!!), practical sets, and a real gothic touch to the Detroit portrayed on screen. Sanders delivers an entirely different adaptation of The Crow that’s not as tightly wound in the romantic gothic aesthetic. This adaptation of the story feels more European, as it was shot in Prague, and doesn’t feel as lived in as the original film. The pacing of the film severely drags in the second half and the clunky editing looms over the entire film. The music in the film is a bit jarring within in the film itself, especially after the romance ends and we’re meant to be grieving alongside Eric and then thrust into the violence of his vengeance. However, the score by Academy Award Winner Volker Bertelmann is beautiful as it transforms from an ethereal, romantic score following Eric with Shelly into a painful, haunting motif as Eric’s anger and grief consume him. Bertelmann is able to effortlessly transition the score as the film glides from romance to action. 

Sanders’s direction is underwhelming at times, but the action sequences are blocked and captured beautifully to keep you fully enticed once they arrive.  The dialogue, at times, is unbelievably painful and stiff, however, both Skarsgård and Twigs at least make the romance shine through due to their perfectly matched chemistry. Gothic romance stories are always a bit cheesy and eye-rolling inducing but with these two actors in this specific story delivering lines such as, “If I’m ever hard to love, try to love me harder,” it’s easy to feel the sincerity between the two characters and see how they truly found themselves in one another. 

The Crow may suffer from poor editing and a strange script, but the film overall is exactly what Sanders intended. It’s not a remake of the beloved original film and most importantly, it’s not trying to be. Once the action kicks off, it’s breathtaking and strictly for the sickos. Skarsgård and Twigs bring to life the idyllic love between Eric and Shelly in the gothic, gritty manner we have longed to see their story explored in depth in this reimagining of the graphic novel. The Crow is perhaps the most romantic, bloodiest time you can have at the movies so far this year.

Grade: B-

Oscars Prospects:
Likely: None
Should be Considered: None

Release Date: August 23, 2024
Where to Watch: In Theaters