Can you believe they finally really did it? They remade THE CROW! We don’t need to go into the whole litany of attempts, but they’ve been announcing versions of this for 16 years. And now they did it. And they released it.
The people I hear from online are, to put it mildly, not eager to welcome this new little birdy into the world. Many people hold the original 1994 movie, and sometimes the James O’Barr comic book it was based on, sacred. It’s a cool movie, people a little younger than me saw it as angsty teens, they feel connected to the soundtrack, and of course it’s a movie about tragedy that you can’t separate from the actual tragedy of Brandon Lee. There are people who instinctively pull out the torches and pitchforks for any remake announcement no matter what, but this one feels more religious, like when THE LAST TEMPTATION OF CHRIST came out.
It’s possible that’s an internet exclusive. When a real life friend brought up the remake a while back and I mentioned people being up in arms about it she was completely baffled. But now the reviews are out and critics too are acting like a pile of rotting garbage crawled out of a dumpster, rang their doorbell and asked if it could wear their favorite shirt. (It’s at 29 on Metacritic.) A movie as rejected and disreputable as its hero.
I’m posting from an undisclosed location, I know all the exits, I got my go-bag packed, so I’m gonna give it to you straight: I liked THE CROW (2024). Not just “it’s not as bad as they’re saying” – I honestly think it’s pretty good. (read the rest of this shit…)
As someone who enjoyed the first two DEADPOOL movies, and loved many of the X-MEN movies, especially LOGAN, and has feelings ranging from a soft spot to a great love for some of the other characters featured within, it’s easy to find mild to moderate amusement in DEADPOOL & WOLVERINE. There are chuckles. There are smiles. There are funny ideas. I had a pretty fun time.
It’s easy to forget what an underdog Ryan Reynolds (SMOKIN’ ACES) seemed like when the first DEADPOOL came out. He had stumbled in other comic book movies, even playing that same character in X-MEN’S ORIGINS OF THE WOLVERINE. But he kept pushing to turn it into something and after seven years of doubts he managed to get this R-rated, wise-cracky meta movie made. It felt new and refreshing at the time and it’s fair to say it was a phenomenon.
Eight years later it’s a whole different world. Deadpool is an overdog, his movie correctly predicted to make giant loads of cash in a summer when actual great movies did not. Reynolds is on his third full Deadpool movie, with plenty of non-Deadpool ain’t-I-a-stinker performances in between. Admittedly I didn’t watch most of those, but I did see the commercials, as well as the ones he does for the phone and gin companies he bought with his DEADPOOL money. You see quite a bit of Ryan Reynolds these days, whether you’re looking for him or not.
Also, the world has grown wary of super hero movies after they’ve dominated pop culture for so long, and after they’ve started to grow sloppier and less special. It’s supposed to be an event that corporate mergers have brought Fox character Deadpool to Disney’s Marvel Cinematic Universe, a franchise even gluttons like me are no longer that invested in. In the movie Deadpool tells Logan “Welcome to the MCU, you’re joining at a bit of a low point,” and it gets a big laugh because it’s undeniable. (read the rest of this shit…)
Do you know about THE PEOPLE’S JOKER? It’s an unauthorized, extremely D.I.Y. riff on DC Comics about a trans woman Joker/Harley Quinn combo (director/co-writer/editor Vera Drew) trying to make it as a comedian in Gotham City. I may not have ever known about it if not for it somehow premiering at the 2022 Toronto International Film Festival before receiving a firmly worded letter from Warner Brothers. After many cancelled screenings they somehow convinced the evil corporation that it was fair use/parody, the movie got a limited theatrical release and now it’s on VOD and on blu-ray and DVD from Altered Innocence. For THE PEOPLE!
I think the main reason it has lived beyond that initial grabbing of headlines is that beneath the gimmick and the many layers of goofiness it’s a very heartfelt autobiographical story about, among other things, coming of age as a trans woman. It’s dedicated “To Mom and Joel Schumacher,” and I strongly suspect that both the strained relationship with her mother (Lynn Downey) and the youthful confusion ignited by seeing Nicole Kidman in BATMAN FOREVER come from Drew’s real life. (read the rest of this shit…)
THE SHADOW is another weird 1994 would-be blockbuster that I previously wrote about in my 2017 series Summer Flings, and I will point you to that review for a more thorough accounting of its plot, merchandising and promotion. But it’s a movie I’m pretty fond of and it’s at least trying to be one of the more traditional popcorn movies of the summer so I wanted to revisit it and discuss it in the context of this retrospective.
You know, when I look at it now the math kinda makes sense. Old pulp super hero + the period when studios were trying to recreate the magic of BATMAN 1989 + Russell Mulcahy, the pioneering music video director who gave us HIGHLANDER and HIGHLANDER II: THE QUICKENING = this movie. It has all kinds of the old timey concepts and tone that I enjoy, it’s filmed with enthusiastic style and energy, it also has a bit of a craziness that’s appealing to me but maybe a turn off for the kind of wide audience they were obviously hoping for. It’s not as wild or messy as THE QUICKENING but it has enough of that that it’s not surprising it didn’t catch on. (read the rest of this shit…)
On May 13, 1994, Johnny Carson was on Late Show with DavidLetterman, his final televised appearance. Times were rolling on, guards were changing. That same day Miramax, an indie studio recently purchased by Disney, had their biggest opening ever with a bitter R-rated comic book adaptation. While boomers were preparing to commemorate the 25th anniversary of Woodstock, here was a movie with a soundtrack full of Lollapalooza bands, their names underlined on the poster, above a 1-900 number you could call “for music CD preview.” That particular demographic hadn’t really been cinematically catered to so directly, and they showed up, as did others. It was even well reviewed by critics, who were unlikely to be comic book nerds or Nine Inch Nails fans in those days.
Now THE CROW is 30 years old, further in our past than Woodstock was at the time. Jesus christ, man. I wrote a review of it 15 years ago. Time flies when you’re getting old, I guess. In 1994 this movie seemed amazing and important – it not only felt so new in its style, but was part of a collective mourning and/or discovery of this exciting actor who had lost his life making a movie about losing his life. Maybe I was falling for the ads asking us to “EXPERIENCE THE MOVIE EVENT OF THE YEAR” and “Take the journey. Experience the phenomenon.” But I went solemnly into a dark theater, the movie washed over me, I could just feel it more than think about it. Watching it now it’s more a movie I find interesting than a movie I can love. But I don’t mind that it’s style over substance. That’s why it works. Evocative imagery and effusive, unexamined emotion – that’s what goth is about, as far as I can understand. That’s what being a teenager is about. I used to be one of those. (read the rest of this shit…)
I don’t know why I never got around to seeing the THE CROW sequel from the director of SIX-STRING SAMURAI. Always was curious. Still took me 19 years. Lance Mungia’s THE CROW: WICKED PRAYER, just like the previous one, was meant for theaters, but I think it only played somewhere around here? Wiki(dprayer)pedia says its theatrical run was only in Seattle and only for one week, and I do remember seeing an ad for it and being confused, but I was thinking it was in Eastern Washington. Anyway, I didn’t go.
I’m going to continue with my THE CROW studies but there aren’t many actual THE CROW movies to review, so here’s a little bit of a side mission.
EL MUERTO (as it’s called on streaming, THE DEAD ONE on DVD) is a 2007 DTV movie I always assumed was a THE CROW wannabe. It stars Wilmer Valderrama (SUMMER CATCH) as Juan Diego, a guy who’s really into Day of the Dead and on the way to a Day of the Dead celebration (while wearing skull makeup and a mariachi suit decorated with little white bones) he crashes into a tree and is possessed by Aztec gods. Then when he gets to the celebration he sees a shrine to himself and realizes oh shit, I died and a year has passed and now I’ve come back with supernatural powers. Like THE CROW, except different. Adn on his favorite holiday. What the fuck. (read the rest of this shit…)
The producer I always associate with THE CROW is Edward R. Pressman. That’s a guy with a storied career – his name is on everything from BADLANDS to CONAN THE BARBARIAN to BAD LIEUTENANT, and he played Mr. Trend in CRIMEWAVE. He died last year but will have his credit on the upcoming THE CROW movie.
Apparently not involved in that new one was the guy who brought the project to Pressman in the first place, Jeff Most. According to a 2005 interview with Clint Morris at Moviehole, it all started when the young producer was looking for a comic book artist to do illustrations of a John Shirley script he was trying to get made. Someone told him to look at James O’Barr’s recently published The Crow and he was so impressed he reversed his plans and had Shirley write a script based on the comic. But getting someone to finance an R-rated comic book movie was difficult. He says 51 people said no before Pressman said yes. (read the rest of this shit…)
Revisiting DAREDEVIL obviously made me want to watch ELEKTRA again – this time in a director’s cut, but the differences are minimal compared to DAREDEVIL’s. It’s a different situation anyway because I actually did enjoy ELEKTRA when I saw it on video back in the day, and even wrote a review of it. So instead of “maybe I’ll like it better now” it was a “will I still like it?” situation. The answer is yes, I did.
That’s not a popular opinion. It was a big flop, and scoffed at from all quarters. Roger Ebert called it “a collision between leftover bits and pieces of Marvel superhero stories.” Manohla Dargis called it “The latest Hollywood movie to give comic books a bad name.” Mick LaSalle wrote, “It’s garbage” and complained that it was “twisted” to open with this contract killer character assassinating someone when “we don’t know what he did to deserve this.” At least David Edelstein said it was “only maybe two-fifths” bad because “these Marvel pictures are starting to blur together” (which now seems like a funny thing for someone to have said then), and he was wise enough to say it paled in comparison to A CHINESE GHOST STORY, THE BRIDE WITH WHITE HAIR and THE HEROIC TRIO rather than X-MEN or SPIDER-MAN. Because that’s what it is: one of the American movies that’s not nearly as good as Hong Kong movies. But I still like them. (read the rest of this shit…)
A little over 20 years ago, in a whole different cinematic era, they made a movie of the Marvel Comics super hero Daredevil. It was a strange, in-between period for comic book movies – they were neither the exciting novelty they’d been in the BATMAN-inspired ‘90s or the dominant cultural force they would soon become with the MCU. BLADE, X-MEN, BLADE II and SPIDER-MAN had come out, so Marvel finally had a track record of successful movie adaptations. But none of these took place in the same world, and there was even a famous outtake from X-MEN where a guy in a Spider-Man costume ran into a scene as a prank, and it seemed hilarious at the time.
DAREDEVIL was a test of what The Ain’t It Cool News and other self-declared “geek” voices on the internet had been preaching. In fact, Harry Knowles wrote a rave review of the script more than a year before filming started. It’s meant to be a dark, gritty and faithful adaptation of a character beloved by comics fans, but not very well known to civilians. Sure enough it was a hit, though only enough to get a spin-off and not multiple sequels like Blade, the X-Men and Spider-Man got. (read the rest of this shit…)
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Recent commentary and jibber-jabber
MaggieMayPie on Trigger Warning: “I watched this the weekend that REBEL RIDGE came out. I went into Netflix to watch that and I saw…” Nov 20, 20:46
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VERN on Dragged Across Concrete: “Both the violence and the racism depicted in the movie are fictional. I did not feel it was committing acts…” Nov 20, 09:15
Can you believe they finally really did it? They remade THE CROW! We don’t need to go into the whole litany of attempts, but they’ve been announcing versions of this for 16 years. And now they did it. And they released it.
As someone who enjoyed the first two 
Do you know about THE PEOPLE’S JOKER? It’s an unauthorized, extremely D.I.Y. riff on DC Comics about a trans woman Joker/Harley Quinn combo (director/co-writer/editor Vera Drew) trying to make it as a comedian in Gotham City. I may not have ever known about it if not for it somehow premiering at the 2022 Toronto International Film Festival before receiving a firmly worded letter from Warner Brothers. After many cancelled screenings they somehow convinced the evil corporation that it was fair use/parody, the movie got a limited theatrical release and now it’s on VOD and on blu-ray and DVD from Altered Innocence. For THE PEOPLE!
July 1st, 1994
On May 13, 1994, Johnny Carson was on Late Show with David Letterman, his final televised appearance. Times were rolling on, guards were changing. That same day Miramax, an indie studio recently purchased by Disney, had their biggest opening ever with a bitter R-rated comic book adaptation. While boomers were preparing to commemorate the 25th anniversary of Woodstock, here was a movie with a soundtrack full of Lollapalooza bands, their names underlined on the poster, above a 1-900 number you could call “for music CD preview.” That particular demographic hadn’t really been cinematically catered to so directly, and they showed up, as did others. It was even well reviewed by critics, who were unlikely to be comic book nerds or Nine Inch Nails fans in those days.
I’m going to continue with my 
The producer I always associate with 
Revisiting 
A little over 20 years ago, in a whole different cinematic era, they made a movie of the Marvel Comics super hero Daredevil. It was a strange, in-between period for comic book movies – they were neither the exciting novelty they’d been in the 
