wellthatswhatithinkanyway
Joined Nov 2000
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STAR RATING: ***** Brilliant **** Very Good *** Okay ** Poor * Awful
Eric Draven (Bill Skarsgard) is a troubled young man, sent to live in a mental rehabilitation facility. There, he meets Shelly (FKA Twigs), a similar troubled soul with whom he forms an unbreakable bond. But Shelly is being pursued by dark forces, led by Vincent Roeg (Danny Huston), an occultist figure whom Shelly has witnessed performing a supernatural act. When Eric and Shelly find themselves snuffed out by Roeg's henchmen, Eric is risen from the grave, under the watchful eye of a mysterious crow, to enact revenge and settle the score.
Thirty years have passed since Alex Proyas's seminal gothic superhero fable The Crow emerged on the scene, cementing the final film role of tragic lead star Brandon Lee. And, in 2024, that rendered it ready in line for the Hollywood 'reboot' treatment, from director Rupert Sanders. But its lameness and inadequacy were radiated even from the promotional poster, and this was reflected in its swift departure from theatres upon its release. But, finally, I've given it a go, and was not disappointed. In the wrong way.
Stepping into the role originally played by the late Lee, Skarsgard has been effective in remakes of well known films, as 2017's It proved, but he's as limp and flat as everything else on display here, just a monosyllabic, foul mouthed drone with no teeth, perfectly matched by Twigs as a twee rich brat. Shelly is a more developed character in this film, and yet you care or root for her even less. While the original had a straightforward revenge against mobsters plot, this has a convoluted supernatural slant that just makes a big mess out of everything.
This was a big a waste of time as I thought it would be, and a thoroughly regrettable experience even seeing it for free. Even some somewhat decent slicing and dicing action at the end can't save it from total disaster, best avoided by all. *
Eric Draven (Bill Skarsgard) is a troubled young man, sent to live in a mental rehabilitation facility. There, he meets Shelly (FKA Twigs), a similar troubled soul with whom he forms an unbreakable bond. But Shelly is being pursued by dark forces, led by Vincent Roeg (Danny Huston), an occultist figure whom Shelly has witnessed performing a supernatural act. When Eric and Shelly find themselves snuffed out by Roeg's henchmen, Eric is risen from the grave, under the watchful eye of a mysterious crow, to enact revenge and settle the score.
Thirty years have passed since Alex Proyas's seminal gothic superhero fable The Crow emerged on the scene, cementing the final film role of tragic lead star Brandon Lee. And, in 2024, that rendered it ready in line for the Hollywood 'reboot' treatment, from director Rupert Sanders. But its lameness and inadequacy were radiated even from the promotional poster, and this was reflected in its swift departure from theatres upon its release. But, finally, I've given it a go, and was not disappointed. In the wrong way.
Stepping into the role originally played by the late Lee, Skarsgard has been effective in remakes of well known films, as 2017's It proved, but he's as limp and flat as everything else on display here, just a monosyllabic, foul mouthed drone with no teeth, perfectly matched by Twigs as a twee rich brat. Shelly is a more developed character in this film, and yet you care or root for her even less. While the original had a straightforward revenge against mobsters plot, this has a convoluted supernatural slant that just makes a big mess out of everything.
This was a big a waste of time as I thought it would be, and a thoroughly regrettable experience even seeing it for free. Even some somewhat decent slicing and dicing action at the end can't save it from total disaster, best avoided by all. *
STAR RATING: ***** Brilliant **** Very Good *** Okay ** Poor * Awful
Danielle Sutton (Viola Davis) is the current president of the United States, and a former combat veteran, who is now representing the U. S. at the G20 summit held in South America, along with her husband, Derrick (Anthony Anderson), and their two children, Sarina (Marsai Martin) and Demetrius (Christopher Farrar.) However, everything is thrown into disarray when the event is sabotaged by Rutlidge (Anthony Starr) and his gang of mercenaries, who appear to have a social cause, but are more interested in their own ends, leaving Sutton to summon her former self and save the day.
With the global political turmoil the world currently finds itself enveloped in, a tense thriller set against the backdrop of one of the world's most prestigious meetings of political minds would seem particularly inspired. Director Patricia Riggen has instead delivered something heavily influenced by Die Hard, but seems less of a tribute, and more of a parody. And one you laugh at, not with.
After Die Hard rolled around, there followed a slew of box office imitations that made it appear a searing examination of realism. G20 follows this trend, and cranks it up to factor ten, and so we have villains broadcasting their identities and criminal intentions to the world, and, to wit, we have Davis having a one-on-one battle with a muscle pumped, automatic weapon armed heavy (and taking him out with a frying pan!) Davis in herself has some credibility as a 60+ action heroine (after all, Harrison Ford was fifty four when he played an ass kicking president on a plane in 1997's Air Force One), and Starr has presence and menace as the villain, while there is decent support from the likes of Anderson.
The 80's and 90's were defined by the 'dumb but fun' action movies, but they were just that: fun. This is just insulting and convoluted, and still expects to be taken seriously. And it's not happening. **
Danielle Sutton (Viola Davis) is the current president of the United States, and a former combat veteran, who is now representing the U. S. at the G20 summit held in South America, along with her husband, Derrick (Anthony Anderson), and their two children, Sarina (Marsai Martin) and Demetrius (Christopher Farrar.) However, everything is thrown into disarray when the event is sabotaged by Rutlidge (Anthony Starr) and his gang of mercenaries, who appear to have a social cause, but are more interested in their own ends, leaving Sutton to summon her former self and save the day.
With the global political turmoil the world currently finds itself enveloped in, a tense thriller set against the backdrop of one of the world's most prestigious meetings of political minds would seem particularly inspired. Director Patricia Riggen has instead delivered something heavily influenced by Die Hard, but seems less of a tribute, and more of a parody. And one you laugh at, not with.
After Die Hard rolled around, there followed a slew of box office imitations that made it appear a searing examination of realism. G20 follows this trend, and cranks it up to factor ten, and so we have villains broadcasting their identities and criminal intentions to the world, and, to wit, we have Davis having a one-on-one battle with a muscle pumped, automatic weapon armed heavy (and taking him out with a frying pan!) Davis in herself has some credibility as a 60+ action heroine (after all, Harrison Ford was fifty four when he played an ass kicking president on a plane in 1997's Air Force One), and Starr has presence and menace as the villain, while there is decent support from the likes of Anderson.
The 80's and 90's were defined by the 'dumb but fun' action movies, but they were just that: fun. This is just insulting and convoluted, and still expects to be taken seriously. And it's not happening. **
STAR RATING: ***** Brilliant **** Very Good *** Okay ** Poor * Awful
Violet (Meghaan Fahy) survived an abusive relationship, and now works an online support service for other survivors. Facing her first date night in ages, her sister, Jen (Violett Beane) stays at home with her young son, while Violet goes to meet Henry (Brandon Skelenar) at an upscale, revolving restaurant. All is going swimmingly, until she begins to receive a series of increasingly sinister texts on her phone, before she finds her son's life threatened...unless she kills her date.
Blumhouse Productions roll around again, with a little publicised theatrical release, with a throwback 1970's style promotional poster (featuring just a pair of eyes.) With a cast of unknowns footing the proceedings, it must speak to a strength of the BH brand that a theatrical release might ensure a sound return, but I seriously doubt Drop will be among the year's highest grossing films. But amongst a slew of other films released around the same time, it might just break even.
Christopher Landon's film is a thriller designed for the smartphone generation, with a large segment of the plot developments playing out on screen in camera phone 'text format', to give it a distinctive edge. It all succeeds in giving the film an effective air of suspense, and mystery regarding who is behind the messages and what they want. But then it all descends into a series of improbable and nonsensical events, that stretch credibility to breaking point, culminating in some Die Hard curtain dangling theatrics in a ridiculous finale.
It survives by the skin of its teeth by creating a genuine sense of mystery and suspense that does get you on the edge of your cinema seat. But Blumhouse would do well to get writers more grounded in some semblance of reality and sanity if they want to keep their good name. ***
Violet (Meghaan Fahy) survived an abusive relationship, and now works an online support service for other survivors. Facing her first date night in ages, her sister, Jen (Violett Beane) stays at home with her young son, while Violet goes to meet Henry (Brandon Skelenar) at an upscale, revolving restaurant. All is going swimmingly, until she begins to receive a series of increasingly sinister texts on her phone, before she finds her son's life threatened...unless she kills her date.
Blumhouse Productions roll around again, with a little publicised theatrical release, with a throwback 1970's style promotional poster (featuring just a pair of eyes.) With a cast of unknowns footing the proceedings, it must speak to a strength of the BH brand that a theatrical release might ensure a sound return, but I seriously doubt Drop will be among the year's highest grossing films. But amongst a slew of other films released around the same time, it might just break even.
Christopher Landon's film is a thriller designed for the smartphone generation, with a large segment of the plot developments playing out on screen in camera phone 'text format', to give it a distinctive edge. It all succeeds in giving the film an effective air of suspense, and mystery regarding who is behind the messages and what they want. But then it all descends into a series of improbable and nonsensical events, that stretch credibility to breaking point, culminating in some Die Hard curtain dangling theatrics in a ridiculous finale.
It survives by the skin of its teeth by creating a genuine sense of mystery and suspense that does get you on the edge of your cinema seat. But Blumhouse would do well to get writers more grounded in some semblance of reality and sanity if they want to keep their good name. ***