Rendező:
Alex ProyasOperatőr:
Dariusz WolskiZeneszerző:
Graeme RevellSzereplők:
Brandon Lee, Ernie Hudson, Michael Wincott, David Patrick Kelly, Bai Ling, Rochelle Davis, Sofia Shinas, Michael Massee, Bill Raymond, Marco Rodríguez (több)Tartalmak(1)
Minden évben egyszer, az ördög éjszakáján a holló kiválaszthat egy lelket azok közül, akik értelmetlen halált haltak, s így lehetőséget kapnak arra, hogy bosszút állva lelkük nyugalomra leljen. Ebben az esztendőben Eric Draven (Brandon Lee) kap lehetőséget. Eric visszatér, hogy bosszút álljon a Top Dollar bandán. Vállán a hollóval a sötét erők birodalmából kiszakítva fekete angyalként járja a várost, hogy igazságot osszon és saját fegyvereiket ellenük fordítva halált hozzon mindazokra, akik egy fél évvel korábban barátnőjét és őt lemészárolták. Kiderül azonban, hogy csak akkor tekintheti teljesítettnek feladatát, ha nem áll meg a puszta bosszúnál. A történet még hátborzongatóbbá vált azzal, hogy egy valódi tragédiát is megörökít. A film főszereplője, Brandon Lee a forgatás közben meghalt. (InterCom)
(több)Videók (1)
Recenziók (9)
Alex Proyas proved that a good comic book adaptation can be made without elaborate character psychology or bombastic digital effects. The straightforward plot about posthumous revenge, presented on a simple formal level, delights in its play of lights and shadows, night darkness, and persistent rain. It takes a backseat, which doesn't really matter, and the only way to win over the viewer's favor remains the atmosphere. In addition to the aforementioned, the expertly directed camera work by Dariusz Wolski and the minimal yet rhythmic and captivating musical accompaniment by Graeme Revell contributed significantly. As a whole, it feels rather depressing without even realizing the tragic circumstances of the filming
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The movie that launched Proyas’ successful career and could have done the same for Brandon Lee. A well-made adaptation of a comic book (better than original) with a neogothic, noirish atmosphere. Then there is Brandon, who gave the character of Eric Draven an unbelievably likeable, gloomy charisma. Even though the movie excels with flawless visual interpretation and foreshadowed Proyas’ “dark visual feeling", I cant get rid of the feeling that if it were black and white, it would be actually even better, although not as attractive.
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I like films with a dark atmosphere. The Crow has plenty of it and it is as seductively dark and gloomy as the comic book itself. Brandon is brilliant (what a great loss) and Wincott is a villain as it should be. Together with X-Men the best comic-book adaptation so far.
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I would like to point out that I usually have no problems with the display of violence, but The Crow is one of those rare cases that go beyond that. It's not so much about the violence itself, but rather about the way the director handles it and how he uses it. The Crow is an instinctive film built on evoking simple emotions and powerful aggressive images. It is an exaggerated and exemplary schematic journey for revenge, where it is perhaps unsettling how easily it leads the viewer right to where it wants them. I do not like this film. Its cheap symbolism infuriates me, there's the fact that it is not ashamed to be stupid, and perhaps what bothers me most is that it works for the audience. Sophistication, multilayeredness, and playfulness will not be found in The Crow. However, it does not deserve to be discarded, as Alex Proyas has mastered his craft well and he was able to capitalize on his experience in shooting commercials and music videos. Overall impression: 25%.
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Brandon Lee, guitar in hand, kitsch to the maximum and nostalgia possibly even further. Although the whole film doesn't escape from the darkness, both visually and emotionally, the promise of the future from The Crow will ultimately shine again. Love is after all the greatest thing in the world and above all - it can't rain forever.
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