One of the best films i have seen

Your blood may run cold, but you now find yourself pinioned to the story.

Amazing worth wacthing. So good. Biased but well made with many good points.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Sarah (Mia Kirshner) as a child loved Eric Draven, the original Crow, the man who avenged his murderers in the city of Detroit. Hoping to start a new life, Sarah has moved to LA, where she works as a tattoo artist and lives in an abandoned warehouse, unknown to anyone. One night, she has a vision of a man, Ashe Corven (Vincent Perez) and his young son Danny being likewise killed. It seems the two Corvens happened to accidentally witness a drug dealer being terminated by other nefarious dealers under the direction of Judah (Richard Brooks). Shot and thrown into the ocean, it was a dreadful happening. Sarah, drawn to the shore, goes to the very spot of the murders, where she sees a crow flying. just before Ashe rises from the sea as a victim intent on revenge for his family. Ashe and Sarah from a bond. One by one, Ashe finds a way to destroy the horrendous gang that carried out Danny's and his murders; sometimes by fire. When Ashe is on the move, his final target will be Judah. But, this drug kingpin has a blind seer, who warns him of impending danger. Will Ashe be able to complete his much sought revenge? First, this film is a violent but stylish movie; those who are under 18 or who can't abide ruthless killing, should stay away. However, beneath the violence is the strangely appealing plot that made the first movie with Brandon Lee so intriguing. That is. there is a halfway to heaven limbo for victims of violent death, in which they can emerge as a crow's companion and take down the bad guys or gals of the world. Who doesn't love to see good avenge evil? Lee, of course, died in the making of the Crow and, in this film, Vincent Perez takes his place, with fine results. The rest of the cast, including Kirshner and Brooks, do interesting work as well. One of the film's biggest assets is its art direction and style, for the effects are beautifully realized. As stated, this movie is not for all, so beware. However, some will find it riveting, compelling fare.

Everybody who saw "The Crow" (1994), a grisly but formulaic back-fr0m-the-dead revenge melodrama, knows actor Brandon Lee died from an accidental gunshot wound on the set during filming. Strangely enough, Lee's untimely demise boosted the box office appeal of "The Crow." The success prompted Miramax Pictures to release a sequel of sorts: "The Crow: City of Angels." Not only have the film producers replaced Lee with another actor, but they also have conjured up an entirely new character. Sequels typically fail to live up to the high standards of most original films, but "The Crow: City of Angels" proves the exception to the rule. The message of "The Crow: City of Angels," a nihilistic supernatural sadomasochistic saga, is that love is sometimes stronger than death. Nevertheless, love takes a backseat to violence in this expressionistic follow-up to the ill-fated but financially successful original. Instead, the filmmakers aim their cameras like guns at the more unsavory narrative elements: brutal murders and echoes of deviant sexual practices with an incidental node to the love aspect.The premise of the first "Crow" reechoes throughout the sequel. When somebody dies, a crow carries the soul to the land of the dead. Occasionally, something so horrible occurs that a soul can find no rest. In such a case, the crow leads the soul back to the living so that injustices can be resolved. David Goyer, who penned the original "Crow," tinkers rather than tampers with the surefire formula that yielded a $50 million haul at the box office. A cadaverous hero rises from the grave and destroys a depraved gang of low-life hemorrhoids. In "The Crow: City of Angels," a twenty-something auto mechanic, Ashe Corven (Vincent Perez of "Queen Margot"), and his young son Danny (Eric Acosta of "Cheerleader Massacre 2") witness a gangland execution by a drug kingpin called Judah.The setting has been changed from the Motor City to the City of Angels. Instead of hoodlums celebrating Devil's Night, as in the original, here citizens participate in the Day of the Dead ceremonies designed to discourage departing spirits from lingering with the living. Eight years have elapsed since the first movie, and Sarah (Mia Kirshner of "Not Another Teen Movie") is the only hold-over character from the original. Sarah has grown up, moved to Los Angeles, and now runs a tattoo parlor. Sarah has been having nightmares lately, about a double homicide.A crow flies into her apartment, and she follows it to the harbor where the bodies of Ash and his son were dumped. The crow revives Ashe, and he emerges in a frothy fountain of bubbles before Sarah's eyes. When Ashe embarks on his revenge, Sarah paints his face in the same Harlequin pattern as Eric Draven's from the first film. Only this time, she uses Ashe's dead son's paints, giving it a truly symbolic meaning. Ashe begins knocking off Judah's (Richard Brooks) henchmen, working his way, as he calls it "up the food chain" to Judah himself. The villains comprise an undeniably loathsome bunch. You'd certainly never invite these scumbags home to meet your parents. Curve, (plug-ugly Iggy Pop of "Tank Girl") resembles death warmed over, while a dark smooth-skinned Richard Brooks as Judah presents a commanding presence. The drug dealing merchant of pain here is so repellent that he display little remorse when a poorly mixed batch of his own narcotics kills his customers. Every time one of these reptilian characters dies, the image of a crow appears around him. For example, when Ashe pitches one baddie from a window, the blood from the dead person's head coagulates in a puddle shaped like a crow.Compared with the first film, "City of Angels" isn't as violent. There is nothing here that comes off as violent as the table scene where Brandon Lee's Eric Draven got blasted by a barrage of gunfire. French heartthrob Vincent Perez animates his slain avenger with a Gallic exuberance. Perez's performance also conveys a quality that makes his character vulnerable and at the same time somewhat melancholy because he is deprived of life. Ashe reveals his reluctance to Sarah to blindly adhere to the fix path that fate has paved for him. Audiences learn the bare minimum about him. All we know about his wife is that she abounded him and their son after she became a drug addict. Unlike Eric Draven, Ashe's body doesn't erase the signs of violence. Gunshot wounds don't magically vanish. He spends more time tooling about on his motorcycle in search of felons and he never carries the crow around on his shoulder.Goyer's episodic script resembles a formula Republic serial from the 1940s. A mysterious hero enters a destitute city and topples a tyrant. Compared with the longer original film, "City of Angels" amounts to a severely pared down exercise in minimalism. The filmmakers have sacrificed exposition, which would clarify characters and story, for supercharged, headlong momentum. If you're looking for exposition, try the web site for "The Crow: City of Angels," because only the most essential information for pushing the plot forward remains in the film. Goyer and director Tim Pope keep the narrative simple, the characters shallow, and the story free from complications or digressive sub-plots. Extraneous characters, such as Ernie Hudson's cop from the first "Crow" don't clutter up the storyline. "The Crow: City of Angels" marks the motion picture debut of music-video director Tim Pope. Previously, Pope helmed music videos for Paul McCartney, Iggy Pop, Queen, and David Bowie. Pope clearly draws on his background so that his "Crow" boasts a fast-paced, no-nonsense, imagine intensive appearance. The film possesses a murky, Gothic look. Smoke swirls around the different bombed-out nocturnal settings, and Pope bathes different scenes in harsh, abrasive color schemes. The wide-angled point of view shots from the perspective of the craw have an avant-garde quality. You don't need to have seen "The Crow" to appreciate "The Crow: City of Angeles."

I wish you could give negative ratings.This is awful, a film without redeeming features. Let's list them.Story - 100% copy Bad Guy - Pathetic Good Guy - An shambolic shadow of Eric Draven Aesthetics - not sure was too dark to see anything.The Crow is one of a few films I would give 10/10 to. As such it is obviously one of my all time favourites. This is my actual least fave film and it includes films I couldn't watch in their entirety such as the original Re-Hash of The Hulk or recently Barbarossa! There is no reason at all to watch this film. it's not camp and therefore funny. It is not ironic, self deprecating or even a decent stand alone flick. Its appalling.Watch something else

I admit that Salvation was the first version I watched before looking for the original from 1994, but I'm glad I did or I wouldn't have given it a chance after this great disappointment.The actor choice and acting was poor at best and it was slow moving.The directing was everywhere and though the soundtrack was still good, that's about the only good thing about this film.Vincent Perez is the worst version of The crow yet! I couldn't help but view him as a spazzed out Carrot-Top, No, even that comedian would have done the role better! They murdered the character that was supposed to be Sarah, and though I'm sure it's supposed to be because she grew up and matured, they chose the wrong direction for a character that was so lovable.Not to troll, I love the feelings any father has for his child, but the feeling just wasn't the same. It felt more like "Oh my god, was he more with his son then a dad? Is he gay?" Just a personal opinion, Salvation and the Original were way better then this piece of scrap and I'm glad I didn't waste the money to see it in theaters.