Reviews

I'm not terribly familiar with the original series but thought I'd check this one out.

As it turns out there are some pretty good car chases and stunts filmed in old fashioned '70s action movie style. The cast is not bad at all, however, the story line could have been fleshed out a bit more. Some snappier jokes could have been added to the script. Jessica Simpson does a good job with what little she had to do.

Perhaps a sequel could star Owen Wilson and Jason Lee. How about Billy Bob Thornton as an alcoholic Boss Hogg? Maybe we could see them get into a little more trouble or "Hazzard" as the name implies. Punch up the danger a bit, give us some edgier comedy! And please show a little more of Jessica Simpson!

This film is not for every one. If you are mostly familiar with American Fim Noir or Gangster movies... Don't Go Here! This is one dark, moody, cynical and depressing film. Yet, that being said, every lingering shot and silent moment has more layers in it then most entire movies do today.

The story here is very simple; two criminals meet when they are recruited by a crime syndicate. They become friends, we find out one is a pimp and the other is a killer for hire. Later, needing a place to stay, the killer falls in love with the pimp's girlfriend (also a prostitute). The three begin to work as a crime trio with the killer doing most of the dirty work.

But the focus here is not the story. Fassbinder subtly allows the three character's relations towards each other become the real story. The people in this film have sold their souls to criminal life a long time ago. Yet, like everyone else in the world, they still struggle for there inner desires, and the need to feel something real.

This movie quite obviously had a very low budget. As a person is shot we, rarely see an exploding squib or even a blank cartridge being fired. The prime focus is the actor facial expressions and reactions. (Equally as powerful, yet more creative then seeing blood) The camera work is extremely minimal, yet far more revealing of the characters subconscious as they walk down a park or into a supermarket.

This is not your modern day first time film maker or film school graduate. Don't expect a Chris Nolan or a Quinten Tarentino. LOVE IS COLDER THAN DEATH, does borrow from certain film genres but it is so uniquely its own film, and creates such a beautiful sense of detachment that has rarely been attempted in film.

Having read the original comic book series in which this The Crow was based, one can see how a direct film translation would have been difficult to accomplish. Unfortunately several movie clichés have been added: A police man butting heads with his superior, a kidnapped girl, a grand finale on top of a cathedral (ala Batman, Metropolis), a buddy cop to the rescue, a villain that is killed by a hero who throws him off a very high place and onto a large pointy object.

What THE CROW lacks in story is made up for with beautiful direction by Alex Proyas, stunning goth-noir cinematography, and a memorable theme by Graham Revell.

This is more than your average comic book movie (do not expect a SPIDERMAN, BATMAN, or X-MEN). Here, our "hero"'s actions come from what he alone feels: pain, loss, anger, isolation, despair. His primary goal is not to bring justice to this world, his main goal is to kill those who have murdered him and his fiancé and to return to the grave where he can be reunited with her.

Brandon Lee really is good in the lead roll, his presence can be felt throughout the film, including scenes filmed after his death. Had he lived he would have made an excellent action hero. Perhaps the MATRIX trilogy would have been better starring a real martial artist and a proved dramatic actor such as Brandon Lee.

THE CROW has a real soul and inner life that is rare for action movies.