At first glance, THE CROW seems to be just another revenge saga, with an added goth twist to appeal to fans of KISS and Marilyn Manson. Thankfully I was mistaken, because this is an emotional roller-coaster of a movie that is both fun and moving, violent yet sensitive. It certainly strikes the viewer as a film in which opposing values gel together quite brilliantly. And, whatever critics may say, it will always be a strangely unique movie, in which the tragedy of Lee's on-set death runs parallel to the death and rebirth of his screen character. As such the movie has a spooky, almost legendary air to it, a real one-off to a film. But Lee's death – although deeply upsetting – is not a good reason to watch this movie, having nothing to do with the film itself.
Director Proyas (DARK CITY) keeps things dim and shadowy throughout. The film seems to take place over the length of one hellish night, so expect brooding darkness, silent alleys and many shots of Lee's surreal, mime-painted face. The plot is simple; he dies, is reborn, and takes revenge on the bad guys, but Lee's relationship with a teenage friend heightens the emotion, as does Ernie Hudson's sympathetic cop who understands the hero's inner feelings and understanding. The bad guys are mostly psychotic rather than evil, all presided over by the sinister yet suave Michael Wincott, one of my favourite underrated actors. Others such as Candyman (Tony Todd) and Sully from COMMANDO (David Patrick Kelly) flesh out the ranks of the victims. Many stunts, explosive action sequences, violent moments and shoot-outs keep the plot moving, but I found this film to be more of an appealing, romantic and deeply sad love story than anything else. Worth catching.
Director Proyas (DARK CITY) keeps things dim and shadowy throughout. The film seems to take place over the length of one hellish night, so expect brooding darkness, silent alleys and many shots of Lee's surreal, mime-painted face. The plot is simple; he dies, is reborn, and takes revenge on the bad guys, but Lee's relationship with a teenage friend heightens the emotion, as does Ernie Hudson's sympathetic cop who understands the hero's inner feelings and understanding. The bad guys are mostly psychotic rather than evil, all presided over by the sinister yet suave Michael Wincott, one of my favourite underrated actors. Others such as Candyman (Tony Todd) and Sully from COMMANDO (David Patrick Kelly) flesh out the ranks of the victims. Many stunts, explosive action sequences, violent moments and shoot-outs keep the plot moving, but I found this film to be more of an appealing, romantic and deeply sad love story than anything else. Worth catching.