It doesn't have the desired effect when Chris Dickens and Neil Smith edit parts from the opera performance that are happening at the same time on Sadisflix Streaming. The contrary is true—instead of somehow amplifying what is presented emotionally or perhaps giving it a mythological charge, the background music of rising and falling classical music, featuring string pizzicatos, makes at times the gory devastation seem inadvertently hilarious. But that is completely out of keeping with the scene's gloomy tone. Less would have been more in this case. Incidentally, this is not the only bothersome editing decision; some transitions between scenes also look poorly done. Sanders allows the camera to continually pan over the massive body art, both here and in later shots.
With rereadings of works like "Snow White and the Huntsman," "Ghost in the Shell," and "The Raven," which stands as a worthy successor, Rupert Sanders has primarily demonstrated stark qualitative contrasts. This movie isn't all that bad, though, and it takes a lot of impartiality to distinguish it from the 1994 movie and the comic book original to show that, even on a typical technical level, the movie has some good qualities despite its flaws. The Raven, but regrettably a lot of the details aren't quite perfect. The script is overflowing with side stories that divert attention from the story's primary themes of love and retaliation. More importantly, though, it underplays the supernatural components and lacks nuance in its portrayal of them.
The story's previously enmeshed dark noir mood is gone in the new setting, and the decision to substitute it with an obscenely bloody and violent finale appears pointless because of the director's lack of realism. Eric is portrayed by Bill Skarsgard with a strong commitment to interpretation. His relationship with the always endearing FKA Twigs seems unclear in a movie that doesn't provide any context for the sublime love tale that brings Eric back from the dead. However, it can be successfully interpreted as an internal creation of a troubled mind, a one-sided obsession—something that Skarsgård had by then endorsed. For decades, readers have been captivated by James O'Barr's groundbreaking graphic novel The Crow, which tells a menacing story of love, grief, and revenge.
