The Crow (2024) Movie Review – A Soulless Reboot That’s As Bad As Everyone Predicted

For nearly two decades, Hollywood struggled to bring The Crow reboot to life. Everyone from Luke Evans to Jason Momoa circled it at some point, as the project appeared to be cursed with numerous false starts but no follow-through in the end. Maybe it was a sign from the great beyond, telling everyone to give up since nothing would ever capture the lightning-in-a-bottle effect of the 1994 original starring the late Brandon Lee. Well, no one heeded that call, and now there’s this: A soulless and empty reboot that justifies no reason for existing. Yes, folks, The Crow (2024) is as bad as everyone predicted it would be after the trailer showcased Bill Skarsgård’s Eric cosplaying as Jared Leto’s Joker.

The greatest sin that Rupert Sanders’ The Crow commits is attaching the name of Eric and Shelly to this unabashed mess. It’s understandable why the decision was taken, since it’s supposed to serve as a homage to the original even though the story is different, but boy – it feels insulting to Alex Proyas’ movie. In this version, Eric and Shelly (FKA Twigs) meet in a rehabilitation center. They break out and start to live life together, getting high and growing out mullets; however, Shelly fears the bad people – led by Vincent Roeg (Danny Huston) – will find them because of a mysterious video she has on her phone. Of course, the goons do and they’re offed. But like Huey Lewis and the News told us before, the power of love is a curious thing and Eric comes back for revenge – and to find a way to bring her back to life (like the Evanescence song).

The Crow’s Story Has More Holes Than Eric’s Body In The Third Act

Sigh. Where to start here? First of all, Zach Baylin and William Schneider’s story features more holes than Swiss cheese. Just on a basic level, the narrative never explores character motivations beyond the given. Example: This person wants this, but no why is ever provided. This is a major problem in terms of Roeg and his cronies, because it still remains unclear why they are present in this story beyond giving it an additional supernatural edge it didn’t need to begin with. 

There are elements of Eric and Shelly’s relationship that don’t make sense either. She’s trying to hide from Roeg, but they head off with friends to swim and frolic by the lake. Then, she tells Eric she wants to leave the city and start off elsewhere, so they go to a packed nightclub to put on a steamy dance show in front of everyone. In fact, it’s ludicrous how long it took Roeg’s goons to find them in the first place, judging by how nonchalant Shelly was about it all. 

It’s also clear the edit of The Crow (2024) does the movie no favors, as there are pivotal scenes missing that must have been shot at some point in time. Make no mistake, cinematographer Steve Annis possesses a keen eye for capturing gorgeous scenes and there are moments of genuine cinematic beauty here, but the stitching together of all this material doesn’t work. As a viewer, there are leaps to a part of the story where one wonders: “Did I miss something?” Then, one realizes that no, it’s just the way the film is told as this has been cut to be under two hours regardless of how much of the story goes along with it.

Bill Skarsgård Shines But Everyone Else Fails

What’s most disappointing is that Bill Skarsgård (Boy Kills World) puts in a committed performance as Eric. He can only work with the script at his disposal, but there’s nothing wrong in how he demonstrates his range of emotions throughout the film. He knows when to turn up the intensity or dial it down for a specific scene. However, he’s severely let down by his castmates. FKA Twigs’ Shelly just smiles and talks in a hushed seductive whisper, acting more like a vapid character from Gossip Girl than a three-dimensional character. Danny Huston’s Roeg sleepwalks through the film, as Huston plays him like the Diet Coke version of his character Erich Ludendorff from Wonder Woman. 

The wooden acting extends to the supporting cast, too, and there’s one dreadful scene that sums it up perfectly. After Eric comes back from the dead, one of the characters who killed him sees him for the first time again. Rather than be spooked that he’s seeing a ghost, he casually says, “I killed you,” while leaning back in his carseat. No surprise. No shock. Just vibes from this fella.

The Crow’s Only Saving Grace Is The Violent And Action-Packed Third Act

Are there any redeemable qualities to The Crow (2024), though? Well, the third act delivers on the violence and action promised in the trailer. Eric doesn’t hold back in his quest for revenge as he slaughters his way through an opera house to get to those who wronged him. There’s a strong John Wick aesthetic and style to the action sequence as it’s highly choreographed, over-the-top bloody, and utterly brutal. Plus, Rupert Sanders ties it in exquisitely to the opera taking place on stage and the music setting the scene, giving it a violent poetry in motion feel. However, viewers have to sit through an awful lot of bad storytelling to get to the point in which Eric enacts his revenge. But hey, at least the soundtrack isn’t too bad, as it features the likes of Joy Division and Enya to add a little something to the atmosphere.

That said, after a long wait for The Crow to fly again, this effort leaves a sour taste in the mouth. It’s easy to appreciate that the filmmakers didn’t want to retell the same story as before, but this version of Eric and Shelly fails to connect or give any valid reason to exist. This film doesn’t have the passion or poignance of the original, or even some of the divisive sequels. For those looking for better stories about the mythical crow that brings souls back to right the wrongs, check out the IDW Publishing’s miniseries The Crow: Skinning the Wolves and The Crow: Lethe instead.