Filmed two years ago and released into theaters on a late summer weekend in August, “The Crow” (2024) is an absolute disaster. From its incoherent plot to its poorly developed characters, the film feels like a misfire across the board — one that never needed to exist in the first place. The original “The Crow” (1996) was a solid and enjoyable film, elevated by Alex Proyas’s hyper-stylized direction and Brandon Lee’s unforgettable performance. It managed to blend themes of love, loss and revenge in a way that resonated deeply with audiences.
Unfortunately, “The Crow” 2.0 fails to capture any of that magic. The plot is confusing and poorly paced, leaving viewers scratching their heads instead of engaging with the story. Watching it unfold felt like a frustrating exercise in trying to connect the dots, as the narrative veered off in directions that made little sense. Character portrayals lack depth, making it hard to empathize with their journeys or invest in their fates. This sequel seems to prioritize superficial aesthetics over meaningful storytelling, which diminishes the emotional weight that made the original film so impactful.
I had anticipated the film would be disappointing based on the initial trailers, but I didn’t expect it to be this bad. I held out hope that it might at least gain a small cult following, but as I watched, I found myself increasingly disheartened.
The film feels like an insult to those who admire the original. It turns multifaceted characters like The Crow himself – Eric Draven, played here by Bill Skarsgård — into a caricature reminiscent of a SoundCloud rapper. Shelly Webster’s portrayal by FKA Twigs was equally disappointing, stripping away the complexity that made her character resonate in the original. I’m sure FKA Twigs is a talented actress, but in this film, she wasn’t given the opportunity to showcase any of her skills. Instead, she felt trapped in a role that offered little more than surface-level aesthetics
The portrayal of the characters in the first half of the film felt more suited for a teenage audience than one hopeful of the modern-day revival “The Crow” aimed to bring. The budget was that of a film meant for the big screen, yet the story felt more like something for network television. It’s tragic that this lackluster sequel made it to theaters at all; it feels more suited for The CW than the big screen. The production aimed for a gritty style but missed the mark entirely. Instead of honoring the legacy of the original, it appears to be a cynical cash grab, attempting to capitalize on nostalgia without understanding what made the first film special. Fans of the original are left disappointed, as this iteration serves as a glaring reminder of how not to approach a beloved classic.
In the end, “The Crow” (2024) stands as a testament to the importance of care and respect in filmmaking. It feels sluggish, like an overly serious gloom-fest that never manages to take off. Over 16 years, The Crow reboot faced a tumultuous journey, passing through numerous directors, lead actors, and creative teams. Each new development only seemed to raise—and then dash—hopes for a proper revival, leaving fans increasingly disillusioned. The long list of delays and changes ultimately culminated in a film that feels overworked and drained of life, far from the edgy and dark spirit of the original.
The long string of directors and lead actors attached to the project and its on-and-off development is hard to ignore. Each delay seemed to add another layer of disappointment, and the overworked and lifeless result should come as no surprise.
I can’t help but wonder: Is there still hope for a future adaptation that truly captures the essence of the original, or does this latest misstep suggest that some stories are better left untouched, their magic too elusive to recreate?
