Movie Reviews
‘The Crow’ Review: Bill Skarsgard Dons the Mascara in a Slow but Stylish Re-Imagining
Lionsgate has been anxious for the latest incarnation of “The Crow” not to be branded as a remake or reboot, though in returning a dormant screen franchise to life, it does qualify as the second. It is indeed no remake, even if the script this time around takes even more liberties with the source material of J. O’Barr’s original comics than its 1994 big-screen adaptation did. That film is burned into the collective consciousness largely because Brandon Lee died in an on-set accident while making it. His career breakthrough became a memorial that would’ve been poetically morbid even without the stamp of real-life tragedy.
Comparisons driven by sentimental favoritism seldom flatter, so it’s understandable the studio hoped to banish them as far as possible. It was already going to be an uphill struggle for a long-aborning project that cycled through numerous directors, writers and stars over the last decade-plus before arriving at this finished product, with some fan loyalists and early reviewers sharpening their knives for the kill. But if you’re able to put prior “Crows” out of your head, “Snow White and the Huntsman” director Rupert Sanders’ film does work to a considerable extent on its own terms — as a dreamy fantasy thriller that’s bloody yet oddly inviting.
More slowly paced than most popcorn entertainments these days, it has a tenor less superheroic, pop-Gothic or martial-artsy than viewers may expect from previous entries. This reinvention’s contrastingly elegant yet dislocated revenge-slash-love story is no slam dunk. But neither is it an unwatchable dud.
O’Barr conceived the comic book series (which began publishing in 1989) to express grief and rage after his fiancée’s death in a collision with a drunk driver. In both graphic novel and Alex Proyas’ hit movie, the bad guys are urban criminal lowlifes, caricatured louts poised between “Dick Tracy” and a “Death Wish” sequel. Here, however, Zach Baylin and William Schneider’s script makes the villains kinky rich evildoers too well-connected to face consequences for their crimes, not unlike concurrently opening “Blink Twice.”
In an unnamed city, Shelly (Brit pop star FKA Twigs) is a singer on the rise unwisely drawn to the hedonistic scene bankrolled by shadowy tycoon Vincent Roeg (Danny Huston), who’s always on the lookout for fresh talent. At his shindigs, good people seem compelled to do bad things. When her friends Zadie (Isabella Wei) and Dom (Sebastian Orozsco) record evidence of such deeds, they are quickly found out, placing all in danger. Roeg is not to be messed with — he’s literally sold his soul to the devil, winning longevity and a luxe lifestyle in exchange for sending the souls of corrupted “innocents” you-know-where. “You go to Hell so I don’t have to,” he tells the unfortunate Zadie.
Fleeing his goons (chiefly figures played by Laura Birn, David Bowles and Karel Dobry), Shelly manages to get herself arrested, and ensures the cops send her to a fanciful state rehab facility. There, she meets Eric (Bill Skarsgard), a lanky, angsty loner she decides she likes — and why not? With his mullet, myriad tattoos and sweetly sardonic air, frequently shirtless Eric is like Pete Davidson with a world-class personal trainer. Both these supposed misfits seem like nice, attractive party people, the sorts whose surplus of cool threads and available crash pads go unexplained by any evident income or backstory. Their breezy connection accelerates once it turns out rehab lockup isn’t safe from Roeg & co., either.
The two escape, their chemistry accumulating during what’s pretty much a long falling-in-love montage — this “Crow” takes its time getting to the revenge part, unlike earlier franchise installments that relegated happy moments to flashbacks. But villainy finally catches up with the couple, who are killed. Eric then wakes up in an industrial-landscape Limbo where an entity called Kronos (Sami Bouajila) informs him he’s dead … with a caveat.
Some souls, he’s told, are guided by a crow to an afterlife. Others, too burdened by unfinished business, find their bird winging them back to the mortal plane. So long as he’s protected by the purity of his grieving love, Eric can bounce back (albeit painfully) from whatever punishment Rogue’s enforcers dish out. He spends the film’s second half lethally working his way up that chain of command, culminating in an elaborate, splattery one-man-versus-private-army confrontation intercut with an operatic performance. (That opera house must have incredible soundproofing, since patrons are oblivious to incessant gunfire just outside the auditorium.) This sequence recalls the climactic bullet ballets in Coppola’s “Cotton Club” and “The Godfather Part III,” achieving some of their self-conscious bravado.
It’s a good setpiece, and there’s a decent sendoff a bit later for Roeg, whose monicker is surely a cinephile in-joke. Elsewhere, Sanders’ “Crow” can lack urgency, but it doesn’t seem to be aiming for it. Nor does it have any real depth of emotion, despite the new conceit of Eric thinking he can somehow retrieve Shelly from the underworld, like Orpheus and Eurydice. Instead, the movie has a sort of bemused, floating quality that only occasionally feels slack.
The comics’ macabre starkness, and the first film’s ornate claustrophobia, give way to a sleek, airier look conjured up by DP Steve Annis’ widescreen compositions, well-chosen locations in Prague and Germany, the production design by Robin Brown (who’s cited Tarkovsky’s “Stalker” as one inspiration), and Kurt and Bart’s playful costumes. Special visual effects are restrained, apart from that omnipresent crow.
While Proyas’ grunge-era vision wanted its MTV bad, style and mood here have a very different, somewhat elevated flavor. Even when the violence is very “hard R,” there’s little sense of lurid pulp jollies being had. It’s satisfying enough, but has a semi-detached effect — not unlike the soundtrack choices, which lean toward slightly incongruous ’80s cuts by Joy Division, Gary Numan and the like, rather than the full-tilt, headbanging rawk Brandon Lee did his acrobatics to. The performances are effective in ways that are fairly understated given the thin character writing, avoiding overly broad strokes.
Probably there will be little call for more where this came from, or even for Skarsgard to repeat the role. Still, his and Sanders’ spin in the guyliner — a signature hero’s look that in fact doesn’t surface until late — is at the very least the best “Crow” movie released since that other one. Of course the sequels in-between were awful. But 2024’s “re-imagining” has personality and panache enough to satisfy … at least if you’re not glued to the rear-view mirror.
Movie Reviews
Game Changer Movie Review: Ram Charan and Shankar deliver a grand political drama
Game Changer Review: The highly anticipated film Game Changer, directed by Shankar and featuring Ram Charan, Kiara Advani, and Anjali alongside SJ Suryah and Srikanth in pivotal roles, is a political action drama that delves into the murky waters of corruption within the Indian political system. Shankar, renowned for his grand storytelling, makes his Telugu directorial debut with Game Changer. His signature style is evident in the film’s lavish production and narrative structure. The story, penned by Karthik Subbaraj, weaves together action, drama, and social commentary, though it occasionally leans heavily on familiar tropes.
Ram Charan delivers a compelling performance in dual roles, seamlessly transitioning between the principled Ram Nandan and the rustic Appanna. As the central figure of the story, he carries the narrative with remarkable ease. While his portrayal of Ram Nandan is high on style and swag, it is his heartfelt performance as Appanna that truly resonates with the audience.
Kiara Advani, as Deepika, plays Ram Nandan’s love interest. Her character moderates Ram’s anger and inspires him to take up the IAS. While Ram and Kiara light up the screen, their love track feels somewhat clichéd. Anjali, as Parvathy, gets a meaty role as Appanna’s wife, championing his principles and cause. The emotional depth she brings to the story bolsters the film’s core.
Srikanth, as Bobbili Satyamurthy, surprises with his antagonist role. His dynamic interactions with Appanna add layers to the narrative. SJ Suryah, known for his distinct style and mannerisms, delivers yet another solid performance as Bobbili Mopidevi.
The film opens with Ram transitioning from an IPS officer to an IAS officer, featuring a stylish action sequence where he settles old scores. The first half chronicles his journey from a fiery college student to a committed civil servant. Although it employs some usual tropes and forced humour, the first half ends with an interval twist, setting the stage for an engaging second half. The latter part of the film takes a different trajectory, transitioning into a politically driven narrative rooted in the soil. The screenplay, treatment, and even the colour palette shift to complement this transformation.
Thaman’s musical score elevates the film, with a soundtrack that complements its themes. Tirru’s cinematography captures both the grandeur and grit of the story, employing dynamic visuals that enhance the viewing experience. Editing by Shameer Muhammed and Ruben ensures a cohesive narrative flow. The production values reflect Shankar’s commitment to high-quality filmmaking, with grandiose visuals in the song sequences. “Jaragandi” stands out as the highlight track, while the popular “Naanaa Hyraanaa” is yet to make its way into the final cut. The team has announced its inclusion starting January 14.
While Game Changer impresses with its grand visuals and socially relevant themes, it falters in areas that detract from its overall impact. The narrative occasionally veers into predictability, relying on familiar tropes of love, political corruption, and systemic injustice. The screenplay’s didactic tone, though impactful at times, can feel heavy-handed, leaving little room for subtlety.
Overall, Game Changer is a well-executed commercial film. Shankar’s grand scale and Ram Charan’s brilliant performance, combined with strong supporting roles and technical excellence, make it a compelling watch for enthusiasts of the genre.
Movie Reviews
‘Better Man’ movie review: Robbie Williams is a chimp. (Just go with it.)
Robbie Williams talks Golden Globe-nominated film ‘Better Man’
Robbie Williams and wife Ayda Field tell USA TODAY’s Ralphie Aversa what it feels like to be at the Golden Globes.
Music biopics are too often predictable, formulaic and, let’s face it, dull. One way to liven them up, however, is to venture way outside the box and make the central subject an anthropomorphic animal. And while an alligator Freddie Mercury in “Bohemian Rhapsody” or a sloth Bob Dylan in “A Complete Unknown” might have been bridges too far, a chimpanzee Robbie Williams defies logic and somehow works in “Better Man.”
Director Michael Gracey’s admirably eccentric biopic/jukebox musical (★★★ out of four; rated R; in select theaters now, nationwide Friday) still boasts the signature tropes of its ilk and the career-tanking vices of many a “Behind the Music” episode. Yet the fact that the ultra-cheeky Williams is inexplicably presented as a bawdy CG ape man (given cool moves and voice via performance capture by Jonno Davies) matches the fantastical nature of the British pop star’s bananas rise-and-fall-and-rise-again tale.
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The movie also has a lot in common with Gracey’s most famous effort, “The Greatest Showman,” featuring well-crafted, effervescent musical numbers doing what they can to make up for oversentimentality and an unfocused narrative.
Narrated by Williams himself, “Better Man” chronicles his life starting as a little simian dude playing soccer in the streets with his mates – and failing to impress his peers. Like his father Peter (Steve Pemberton), Robbie wants to be somebody and slowly he begins to embrace a charismatic, wild-child personality that wins him a spot in the boy band Take That. His brazen and outrageous personality wins over some like pop-star girlfriend Nicole Appleton (Raechelle Banno) – and his many fans – but irks many others, from his bandmates and manager (Damon Herriman) to members of Oasis.
The middle of the movie is where “Better Man” finds its groove. Robbie sings “Rock DJ” and his group pogo-sticks through London’s busy Regent Street in the film’s most spectacular sequence. And as the insecure Robbie goes down a bad path, he’s forced to literally fight the conflicting parts of his pop-star persona. Drugs and being a selfish jerk threaten everything, of course, and seeing a chimp go through the out-of-control partying instead of a normal dude is a bit different. The family drama peppered through the film leans too earnest, leading to an ending that pours on the schmaltz way too hard. Brash simian Robbie is a lot more fun to watch than soppy simian Robbie.
No one’s ever going to play a primate like the brilliant Andy Serkis in his “Planet of the Apes” films. Davies does a good job at moving in such a way that’s human but also a little bit wild, which adds to the hyperrealism of a proudly oddball movie. It doesn’t completely explain why exactly Williams is a chimp in the biopic – he’s said he feels “less evolved” than others, and Nicole calls Robbie an “animal” during a fight – but it makes that bizarre choice a little less head-scratching.
Interestingly, the best part of “Better Man” is Williams. He sings the songs throughout the movie – including nifty new tune “Forbidden Road” – and his fabulous narration hilariously slings jabs and adds an emotional gravitas to his screen counterpart’s struggles. When the film goes most over the top, Williams’ commentary keeps it grounded.
“Better Man” isn’t perfect – as a straightforward effort, it doesn’t hold a candle to, say, “A Complete Unknown.” But it’s never boring, either. And the film is easily the most idiosyncratic of its kind, at least until that inevitable Barry Manilow biopic featuring a yeti.
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