the iconic movie The Raven, by Alex Proyas, will have a reboot. On this occasion, the person in charge of providing a face to the dark hero of James O’Barr will be Bill Skarsgard, under the direction of Rupert Sanders. For now, little is known about the project, beyond the fact that he will ignore the sequels and return to the origin story. The announcement of the production, long postponed and part of the history of the cursed Hollywood, immediately piqued the interest ofyou fans. Especially, because it is the reinvention of one of the most iconic superhero movies outside of the big franchises.
The Raven de Proyas carries the weight of one of Hollywood’s great tragedies. During its filming, actor Brandon Lee died in the middle of a confusing incident, which led the production to the category of dark film myth. Especially when the world of cinema could not help but remember that Lee’s father, the legendary Bruce Lee, died in similar circumstances. Amid controversy over filming security protocols and conspiracy theories, the film became an awkward milestone.
With its gloomy air, solid script and dark direction, the production immediately became a cult film. Especially for the emotional and solid performance of the ill-fated Lee, who managed to create a complex anti-hero with skill. However, its subsequent sequels did not live up to the inspired original version. They became the clumsy exploitation of a larger and more complex concept. We bring you a detailed list of the attempts that have been made so far to bring the hero’s story back. Mostly curious box office flops and clumsy homages to a deeper story.
The Raven: City of Angels (1996), by Tim Pope
Oddly enough, the film is actually a reboot of the 1994 original. Without any real explanation as to why, MIRAMAX decided to pick up the project and repeat Proyas’ film almost frame by frame. It was about a kind of curious unfinished project which also lacked personality. The only difference with the previous film is the reason that unleashes revenge.
While in Proyas’s the central motor of the plot was the murder of a pair of lovers, in Pope’s it is that of a father and his son. But beyond that, the production insisted on keep even the original soundtrack, which makes the premise more confusing and unnecessary. With actor Vincent Pérez at the helm, the film has an artificial and unfinished air. A curious data? The cast includes Iggy Pop in a meaningless and chaotic role.
The Raven: Salvation (2000), by Bharat Nalluri
Again, the movie is somewhat of a reboot, although it could essentially be considered a sequel. Finally, the plot moves to new places and although it does so without much skill, at least it leaves behind the aesthetics of the original film. This despite the fact that the plot returns to the trope of the murdered lovers and the avenging angel seeking revenge.
But whether it’s because of its flimsy script or the director’s inability to bring personality to the film, production drops immediately. Specifically, for replacing the veiled mystery of the previous ones with a complicated plot about police corruption. One that also has the particularity of almost accidentally linking the supernatural plot with a clumsy procedural to use. This time, Alexander, “Alex”, Frederick Corvis (Eric Mabius) will have to face evil and shadows. But the actor lacks the ability to create a believable character.
The Crow: Wicked Prayer (2005), by Lance Mungia
On this occasion, the figure of the Raven ends up becoming an ineffective mix between disparate legends and myths. If before the general conception of the dark avenger arose from a certain idea of the mysterious, now the script attributes it to Native American beliefs. Of course, it is a coup that transfers all the weight of the concept on the enigma to a root on faith and spiritual power. A contradiction with the central trunk of the entire saga.
The ethnic background changes the context of the character and from the haunting urban nightmare, the film moves into a kind of cultural ostracism. Not only does the premise lack purpose and a sense of identity, but it ends up combining disparate ideas without the slightest logic. On this occasion, the victim who returns to seek revenge is Edward Furlong who tries but fails to capture the density of his character.