--- title: "The Crow" year: 1994 kind: "film" canonical: "https://film.one/film/the-crow-1994" fi1m_id: "the-crow-1994" imdb_id: "tt0109506" tmdb_id: 9495 wikidata_id: "Q250912" fi1m_score: 78 critics_score: 70 critics_reviews: 12 published: "2026-10-30" updated: "2026-10-30T09:17:55.797863+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Crow (1994) Directed by Alex Proyas · 1h 42m · MPA R · Fantasy, Action, Thriller ## Identity The Crow - **Canonical:** https://film.one/film/the-crow-1994 - **Type:** Film - **Fi1m ID:** the-crow-1994 - **IMDb ID:** tt0109506 - **TMDB ID:** 9495 - **Wikidata ID:** Q250912 - **Same entity:** https://www.imdb.com/title/tt0109506/, https://www.themoviedb.org/movie/9495, https://www.wikidata.org/wiki/Q250912 **Fi1m score: 78** · Critics 70 from 12 reviews *In a sentence:* All that rain, all that violence, and Brandon Lee still finds room to be tender > Brandon Lee’s warmth makes *The Crow* worth caring about, while Alex Proyas gives its revenge story a convincing gothic setting. The plot is thin and the soundtrack overbearing, but there is feeling beneath the gloom. ## Synopsis Eric (Brandon Lee) seeks revenge in a rain-soaked city. His pursuit unfolds among figures including Sarah (Rochelle Davis), Albrecht (Ernie Hudson), Top Dollar (Michael Wincott) and Myca (Bai Ling). Violence marks the course of a grievance that drives Eric through a gothic urban setting, with fantasy and action shaping his encounters. He remains vulnerable beneath his anger as the story follows his search for retribution. The city around him is hostile, and his personal pursuit keeps bringing him back into its violence. ## Review *The Crow* is a good revenge film because Brandon Lee makes us care about the person doing the avenging. Alex Proyas gives him a rain-soaked city and enough gothic gloom to make the violence feel at home, but the film would be exhausting if anger were all it had. Its star supplies the tenderness that keeps it watchable. The story is straightforward, sometimes to a fault, and much of the pleasure comes from seeing how much the performance can do with it. Dariusz Wolski’s cinematography and Alex McDowell’s production design deserve to be considered together. The rain-soaked city feels consistently hostile, and their work makes that hostility convincing even when the writing struggles. There is enough to look at here that a predictable stretch of story need not mean a dull stretch of film. Alex Proyas’s energetic camera keeps the action moving, while the city holds our attention even when the next step in the revenge plot seems obvious. Brandon Lee gives Eric the presence to carry the action and the vulnerability to make the anger troubling. We were more moved than we expected to be. His warmth persists amid the violence, so we keep responding to Eric as someone capable of feeling hurt, even when the film is busy presenting him as an avenger. That is a considerable achievement in a story this slight. The performance makes the sombre mood bearable because there is someone within it worth caring about. The screenplay by David J. Schow and John Shirley is the principal limitation. Its direct route through the revenge story leaves too little space for the characters to become complicated, and the weak dialogue does not make up for that. Too much depends on the audience accepting the grievance and remaining satisfied with the pursuit. Brandon Lee usually supplies enough feeling to keep us with him, but the writing makes his task harder than it needs to be. Editors Dov Hoenig and M. Scott Smith give that pursuit a useful forward drive. The cutting serves the action, though pace cannot supply the uncertainty missing from the story, and the gloom sometimes becomes wearing through sheer persistence. Graeme Revell’s music helps sustain that mood, but the soundtrack as a whole can be overbearing. The images already establish how seriously we are meant to take this world; the music need not keep insisting, and some quiet would have given its star more room. A revenge fantasy can manage without much narrative surprise if its central figure holds our interest. Here, Eric does, and the film’s seriousness allows his vulnerability to matter without dismissing it with a joke. We would not trade that sincerity for a tidier screenplay, though we would happily accept both. Its 102 minutes suit an evening when mournful action is the attraction. Watch it for Brandon Lee, with some patience for the music. *Fi1m score 78, published 30 October 2026.* ## What the critics say Most critics respond warmly to The Crow, with praise clustering around Brandon Lee’s performance and the rain-soaked gothic cityscape. Lee’s screen presence is a recurring strength, but the reviews also value his warmth and vulnerability: he gives the revenge story an emotional weight that its plotting does not always supply. The energetic camerawork and action draw approval too, particularly from critics who enjoy the film as gloomy, stylised pulp. The reservations concern how much substance supports that atmosphere. Several critics find the story slight or overly straightforward, though they differ on how seriously this limits the film. The Los Angeles Times finds it excessively grim and overwrought while still admiring Lee; Eye for Film objects more sharply to weak dialogue, an overbearing soundtrack and insufficient emotional payoff. The spread runs from enthusiasm to mixed responses, with even the more doubtful assessments finding something persuasive in Lee’s performance. ## Straight answers **Is The Crow worth watching?** *The Crow* is worth watching for Brandon Lee’s tender performance and its convincing gothic city, especially if mournful revenge films appeal; we score it 78 out of 100. The plot is thin and predictable, and the soundtrack can be overbearing, but Lee gives us someone to care about amid the violence. **How long is The Crow, and what is it rated?** *The Crow* runs 1h 42m and is rated R by the MPA in the US. It is a fantasy and action film. **Where can I watch The Crow in the US?** *The Crow* is streaming on Peacock, Pluto TV, Tubi, Hulu, Apple TV, Amazon Prime Video and The Roku Channel in the US, and it is also available to rent from Apple TV and Amazon Prime Video from $5.99. It leaves Peacock on 1 November. Availability is checked daily; the links above go straight to each service. **How violent or frightening is The Crow, and is it suitable for children?** *The Crow* carries a UK 18 certificate and is not suitable for children, with violence central to its revenge story. Its hostile, rain-soaked city and persistent gothic gloom make it an oppressive watch; we would steer squeamish viewers elsewhere, though Lee’s warmth gives the darkness some relief. **How does The Crow compare to Dark City?** *The Crow* offers a straightforward, emotionally engaging revenge story, while [*Dark City*](https://film.one/film/dark-city) is our stronger recommendation for an intricate mystery within an oppressive invented city. Both struggle with aspects of their writing, but Brandon Lee gives *The Crow* a warmth that matters more than its plotting; we favour it when feeling and action are the attraction. **What should I watch after The Crow?** After *The Crow*, try [*Dark City*](https://film.one/film/dark-city) (1998, Fi1m 76): Another hostile city, with a more intricate mystery beneath its oppressive darkness. Then [*Wings of Desire*](https://film.one/film/wings-of-desire) (1987, Fi1m 88): For the tenderness beneath the fantasy, with room to breathe between sorrows; and [*Only Lovers Left Alive*](https://film.one/film/only-lovers-left-alive) (2013, Fi1m 81): Gothic melancholy, music and affection, with considerably less interest in settling scores. ### Reviews we read (12) - **Variety**, Todd McCarthy (85/100, inferred): McCarthy praises the film as a visually dazzling and commercially compelling revenge fantasy, despite its simplistic, overly linear story. He singles out its carefully designed, rain-soaked cityscape and Brandon Lee’s magnetic performance. [Read](https://variety.com/1994/film/reviews/the-crow-1200436537/) - **Vulture**, Roxana Hadadi (85/100, inferred): Hadadi argues that the film’s lasting strength comes from Brandon Lee’s performance. She especially praises how his warmth and vulnerability deepen the story’s gothic action. [Read](https://www.vulture.com/article/without-brandon-lee-the-crow-doesnt-fly.html) - **Radio Times**, Alan Jones (4/5): Jones finds the film gripping and thoroughly entertaining despite its sometimes-obvious comic-book origins. He particularly praises its dynamic action and Proyas’s kinetic style. [Read](https://www.radiotimes.com/movie-guide/b-uscyg3/the-crow/) - **RogerEbert.com**, Roger Ebert (3/4): Ebert finds the film’s visual style impressive but its story comparatively slight. He singles out the striking visual presentation as its chief strength. [Read](https://www.rogerebert.com/reviews/the-crow-1994) - **The Guardian**, Peter Bradshaw (75/100, inferred): Bradshaw finds the film’s violent, cartoonish revenge fantasy still potent. He praises Proyas’s energetic camera work and goth atmosphere, while noting that Eric’s motivation is less compelling than the film’s mood. [Read](https://www.theguardian.com/film/article/2024/may/30/the-crow-review-brandon-lees-heavy-metal-horror-is-still-a-potent-goth-fantasy) - **Empire**, Adam Smith (70/100, inferred): Smith finds the film a satisfyingly gloomy, stylish piece of pulp with an appealingly bleak worldview. He singles out Brandon Lee’s performance and screen presence as a particular strength. [Read](https://www.empireonline.com/movies/reviews/empire-essay-crow-review/) - **The New Yorker**, Terrence Rafferty (64/100, inferred): The issue archive identifies this as a review of “The Crow,” but does not reveal the critic’s verdict. It provides no details about what the critic praised or criticized. [Read](https://www.newyorker.com/magazine/1994/05/23) - **The New York Times** (63/100, inferred): The page identifies this as a review of The Crow, but its text is inaccessible. The critic’s verdict and any specific praise or complaint cannot be verified. [Read](https://www.nytimes.com/1994/05/11/movies/review-film-eerie-links-between-living-and-dead.html) - **Time Out**, SFe (62/100, inferred): The available excerpt does not reveal the critic’s overall verdict. It highlights the film’s troubled production aftermath and US box-office performance. [Read](https://www.timeout.com/movies/the-crow) - **Los Angeles Times**, Peter Rainer (45/100, inferred): Rainer finds the film effective on its own terms but excessively grim and overwrought. He singles out Brandon Lee’s commanding, almost operatic performance as the film’s genuine source of heart. [Read](https://www.latimes.com/archives/la-xpm-1994-05-11-ca-56162-story.html) - **Collider**, Kelcie Mattson (85/100, inferred): Mattson finds the film’s wounded heart still ambitious, imaginative, and cathartic. She especially praises Brandon Lee’s soulful performance and the film’s striking Gothic visual style. [Read](https://collider.com/the-crow-iconic-revenge-thriller/) - **Eye for Film**, Stephen Carty (55/100, inferred): Carty finds the film visually striking but short on substance, depth and emotional payoff. He praises its gothic atmosphere and Brandon Lee’s haunting performance, while criticizing the overbearing soundtrack and weak dialogue. [Read](https://www.eyeforfilm.co.uk/review/the-crow-film-review-by-stephen-carty) ## Details - **Director:** Alex Proyas - **Director:** Alex Proyas - **Screenplay:** David J. Schow, John Shirley - **Cinematography:** Dariusz Wolski - **Editor:** Dov Hoenig, M. Scott Smith - **Music:** Graeme Revell - **Production design:** Alex McDowell - **Costume design:** Arianne Phillips - **Producer:** Alex Proyas, Jeff Most, Edward R. Pressman - **Cast:** Brandon Lee as Eric; Rochelle Davis as Sarah; Ernie Hudson as Albrecht; Michael Wincott as Top Dollar; Bai Ling as Myca; Sofia Shinas as Shelly; Anna Thomson as Darla; David Patrick Kelly as T-Bird - **Runtime:** 1h 42m - **Certificate (MPA):** R - **Release (the US):** 11 May 1994 - **Genres:** Fantasy, Action, Thriller - **Budget:** $23 million - **Box office:** $94 million - **Trailer:** https://www.youtube.com/watch?v=Ltzov6nhud0 ## Where to watch in the US - Peacock: streaming, hd, leaving 2026-11-01 - Pluto TV: free - Tubi: free - Hulu: add-on, hd, leaving 2026-11-01 - Apple TV: add-on, uhd - Amazon Prime Video: add-on, uhd - The Roku Channel: add-on, hd, leaving 2026-11-01 - Apple TV: rent $5.99, hd - Amazon Prime Video: rent $5.99, hd - Apple TV: buy $4.99, hd - Amazon Prime Video: buy $14.99, hd *Checked 2026-10-30.* Also available in: AT, AU, BE, BG, CA, CH, CZ, DE, DK, FI, GB, GR, HR, HU, IE, IL, IN, IS, KR, LT, NO, NZ, PT, RO, RS, SE, UA, US, ZA. Add `?region=XX` to this URL for another country. ## If you liked this - *Dark City* (1998), Fi1m 76: Another hostile city, with a more intricate mystery beneath its oppressive darkness. — [Fi1m page](https://film.one/film/dark-city.md) - *Lady Snowblood* (1973): For revenge pursued with fierce purpose and a sharply controlled visual style. - *Wings of Desire* (1987), Fi1m 88: For the tenderness beneath the fantasy, with room to breathe between sorrows. — [Fi1m page](https://film.one/film/wings-of-desire.md) - *A Girl Walks Home Alone at Night* (2014): Another nocturnal outsider finds tenderness in a town steeped in menace. - *Only Lovers Left Alive* (2013), Fi1m 81: Gothic melancholy, music and affection, with considerably less interest in settling scores. — [Fi1m page](https://film.one/film/only-lovers-left-alive.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. 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