The Crow (2024)

The-Crow-(2024)
The Crow (2024)

Do you remember how there was no trigger warning in Blink Twice? Well quite oppositely, The Crow has a trigger warning, but it is the wrong one. The Crow may require a caution for its cringe-inducing lines, and its flat characters with absolutely no chemistry. A pointless reboot of James O’Barr and Alex Proyas’ comic book series ‘The Crow’, which features a visually stunning 1994 film and is created by William Sanders (who directed the Foundation’s pilot!) sanders pays no heed to a cliche plot depicting a vacant post office and the rate of chewing gum congealing in its setting.

The Crow follows up with a horse struggling on the verge of dying, with a black mark on any animal violence bills. In this film, a young boy tries to free a horse bound with barbed wire. A traumatized Eric (Bill Skarsgård) as a boy is addicted to drugs. A pianist musician, Shelly, (FKA Twigs), is addicted herself. After Zadie (Isabella Wei) sends her a clip, she flees from Roeg (Danny Huston). The art lord is also a criminal who has made a deal with the Devil himself.

Shelly is sent to rehab by police where she meets Eric and together when Marian (Laura Birn), Roeg’s henchwoman, appears at the rehab, the two escape. They spend the time in lavish parties at Shelley’s friend and during that time they fall in love when suddenly, the henchmen of Roeg come against them and eliminate them. Eric wakes up in an old ghost town at a train station and meets a man named Cronos (Sami Bouajila) who informs him that they are in between worlds and this love for the woman remains untainted then Eric cannot lose. Once he kills the evil, he can be with his only love. And thus begins the very slow satisfying revenge.

The production design is well done. The soundscape, not to compare it with the 1994 movie, where STP, The Cure, and Nine Inch Nails featured, is fantastic. But that is all one can really say about this painfully slow film. The violence that is seen during the climax just in case one does not understand it, Is combined with an opera is unnecessary.

Twigs and Skarsgård’s romance is unbearable as the actors have no chemistry, and the viewer is unable to emotionally connect to the romance on screen. The hopelessness of a love that can endure the test of time is palpable and one gets the feeling that these two date out of necessity as opposed to romance. The leaden dialogues do not help either. The badly paced movie with a messy storyline where vital video is introduced just as an added extra feature does not help the cause.

Even the crow, sacred to Hindu mythology for its ties to ancestors and renewal, appeared as an afterthought, aimlessly drifting around the screen among pointless characters such as Shelley’s mother Sophia (Josette Simon), and a mute pianist who is only there to flirt with Roeg. And when Eric-bickering came into the picture, it was a familiar image of a headless Gothic terminator that came to mind. It was unfortunately only once in this sandstorm of fantasy that it was radically shown to be a mirage.

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