Alex Proyas’ 1994 movie The Crow owes its enduring cult bona fides partly to high-style visuals rooted in peak-era MTV, a churning alt-metal soundtrack and means cool goth-chic trend sense. However the bigger issue behind the smooth thriller’s cultural imprint was the tragic accident throughout filming that took the lifetime of promising star Brandon Lee at 28, echoing the loss of life at a equally younger age of his father, martial arts legend Bruce Lee. Director Rupert Sanders makes an attempt to slide out from beneath the unique’s shadow by avoiding the phrase “remake” and calling this a contemporary reimagining of the supply materials. That doesn’t make it any much less turgid.

Drowning in brooding environment, rain-slicked nightscapes and goopy eyeliner, and tossing in some retro taste with tracks by Pleasure Division, Gary Numan and others, the brand new iteration of The Crow is extra targeted on aesthetics than storytelling. So it is sensible that one of many director’s inspirations was high-gloss French movies of the ‘80s like Diva and Subway, a part of the wave dubbed “Cinéma du look.”

Proyas and his screenwriters zipped by way of the grotesque killings of soon-to-be-wed Shelly and Eric with disturbing montage flashes, permitting them to dive swiftly into the lurid enjoyable of resurrection and bloody revenge.

Tailored by Zach Baylin and William Schneider from James O’Barr’s comedian e-book collection, the reboot — or no matter you wish to name it — plods with numbing inefficiency by way of a snoozy preamble. It efficiently establishes neither the immediately everlasting love between Eric (Invoice Skarsgard) and Shelly (FKA Twigs), nor the sinister fiend who cuts quick their rapture.

In truth, the villainous facet of issues right here barely is sensible. Vincent Roeg (Danny Huston) is a person of huge wealth with a style for fairly feminine pianists, which appears of curiosity solely as a result of we see Shelly doodling at a keyboard. He will get his kicks sending girls to hell with a devilish whisper of their ear and just a little blood contamination, prompting them to show dead-eyed earlier than committing suicide or homicide.

However the place does this diabolical mind-manipulation energy come from, and what made Roeg such a sicko creep? He says he’s been round for hundreds of years, but when we’re to consider he’s a supernatural being of some variety, hatched from the identical comic-strip mythology as Lifeless Eric, why is his talent set so totally different? Don’t count on solutions to these questions. No matter he’s, Roeg is not any substitute for Michael Wincott as a heartless cokehead with a silky sheath of chest-length headbanger hair and Bai Ling as his witchy consort.

On this model, Eric and Shelly meet in court-ordered rehab. She freaked out previous to her arrest when a pal despatched her a video he secretly shot throughout a hangout that turned ugly and left her traumatized. The horrible occasions of that evening are solely steered at first, however we all know they’re sufficiently incriminating to make Roeg need the video faraway from circulation pronto. That leaves simply sufficient time for Eric and Shelly to match tattoos, develop incipient emotions for each other and escape rehab collectively when Roeg’s kill staff, led by a chic pair we’ll simply name Faux Tilda Swinton and Faux Terence Stamp, observe her down.

Holed up in a swanky pad conveniently left out there to Shelly by a beneficiant pal, the dreamy-eyed couple fall in love over smelly intercourse, a shared joint within the bathtub, capsules, champagne and plenty of ecstatic canoodling wrapped in gauzy white drapes. However they overlook about Roeg’s resourcefulness lengthy sufficient to picnic by the river, stroll round city and hit a dance membership. Love is much less blind than silly, on this case.

When Eric and Shelly get dwelling, they discover Roeg’s hitmen ready for them. Sanders and the writers have correctly scrapped the sadistic rape ingredient from the primary film and present much less curiosity in sensationalizing the murders. It’s in all probability the final good move they make.

No one encountering The Crow for the primary or the fiftieth time wants an excessive amount of fussy lore to decelerate the motion. It ought to be comparatively easy: Dude dies alongside his beloved and re-emerges from the grave with rapid-healing powers that render him seemingly unkillable; a crow guides him to take out the evildoers that took Shelly from him, permitting them each to relaxation in peace.

Right here, Eric’s afterlife revenge odyssey begins in a swampy industrial wasteland between heaven and hell the place an enigmatic character named Kronos (Sami Bouajila) reads him the rule e-book. The crows hanging about, caw-cawing up a racket, are tasked with carrying souls to the land of the useless. However Eric has unfinished enterprise. “The crow will information you to place the fallacious issues proper,” Kronos tells him.

The picture of Brandon Lee in body-hugging black leather-based and spandex beneath a superb trench coat that appeared prefer it got here off a Thierry Mugler runway, with a whopping nice chook perched on his shoulder like some goth pirate, is so iconic that making an attempt to copy it might have been loopy.

As Skarsgard’s Eric and his mullet prowl town selecting off Roeg’s stooges in more and more gory methods, he’s extra typically shirtless to show his chiseled torso and in depth physique ink. At one level, a would-be murderer even obliges by tearing off Eric’s sweaty T-shirt throughout a blood-drenched conflict. I virtually shouted, “Ooh, woman, behave!”

There’s nothing concerning the walking-dead avenger (or the efficiency) to carry your curiosity by way of lots of rote stabbing and chopping and capturing and skull-smashing. Neither is there even any flying out of home windows till a double dive close to the top.

The film’s massive set-piece is a scene on the opera, the place Eric turns up on the path of Roeg’s No. 2, Faux Tilda, whose precise identify is Marion (Laura Birn). The architectural grandeur, bedecked with ornate gilt and marble and crimson plush, makes a setting for blood-letting that in all probability would have thrilled Luc Besson within the ’80s. However when Roeg’s seemingly infinite crew of closely armed assassins in impeccably tailor-made formalwear preserve sprouting simply as quick as Eric can hack them down, all of it begins to appear like ersatz John Wick. Although it’s helpful to know that an opera efficiency stuffed with shrieking arias offers good audio cowl for a killing spree.

There’s extra backwards and forwards and renegotiation with Kronos that doesn’t add a lot past permitting Eric to cry inky black tears and in the end offering the vaguest of explanations for Roeg’s malevolence and its connection to Kronos’ suspended state. However the overload of otherworldly claptrap simply dulls the already minimal involvement within the all-consuming love story that’s imagined to be the driving drive.

DP Steve Annis shoots the film like a collection of music movies, which maybe was meant to honor the display screen adaptation’s ‘90s roots however as an alternative simply fudges the intersection between actuality and the supernatural in dreary methods. Twigs and Bouajila do what’s required of them however can’t make their characters memorable, whereas Huston’s darkish lord routine is borderline foolish, extra the script’s fault than the actor’s.

The Crow is a sluggish, overly self-serious gloomfest that by no means takes to the air. Given the lengthy string of administrators and lead actors hooked up to the challenge over its 16 years of on-off growth, the overworked, lifeless end result ought to be no shock. I suppose at the least we had been spared the Mark Wahlberg model.