Filmmakers Norrington, Juan Carlos Fresnadillo, F. Javier Gutiérrez, and Corin Hardy were initially signed to direct while Bradley Cooper, Luke Evans, Jack Huston, and Jason Momoa were all cast as Eric during various points in development.

Shelly, a musician with similar issues, receives a video on her cell phone from her friend Zadie that incriminates Vincent Roeg, a crime lord posing as a musical aristocrat.

Choosing to save the video, despite knowing that possessing it would lead to her death, Shelly attempts to go into hiding but is immediately pursued by Roeg's henchmen.

He reveals that, centuries earlier, he had made a pact with the Devil to send innocent souls to Hell in exchange for eternal life.

They take refuge in the vacant home of one of Shelly's friends, and the two quickly fall in love and attempt to live a carefree life together, but are soon found by Roeg's men and murdered.

Revived and possessing the ability to heal from injuries, Eric visits Sophia, Shelly's mother, who was present with Marion at the rehab center.

Returned to the afterlife, Eric makes a deal with Kronos to take Shelly's place in Hell in exchange for another chance to kill Roeg.

After a brief reunion between the lovers, Shelly is revived on the night of their deaths and mourns for Eric after Kronos, disguised as a medic, tells her that he gave his life for her.

Norrington distinguished between the 1994 adaptation and his take: "Whereas Alex Proyas' original was gloriously gothic and stylized, the new movie will be realistic, hard-edged and mysterious, almost documentary-style.

"[18] Ryan Kavanaugh then announced on November 23, 2009, that his company, Relativity Media, was in negotiations with Edward R. Pressman for both the film's rights and financing.

[21] Norrington later stepped out of the project and, on April 7, 2011, it was announced that Juan Carlos Fresnadillo had been chosen to direct the film, which has since been regarded as a remake.

[23] It was reported on April 20, 2011, that the project was stalled due to a legal battle between Relativity's Ryan Kavanaugh and The Weinstein Company, who still retained the worldwide distribution rights to the series.

[26] In mid-August 2011, it was announced that Cooper had dropped out due to scheduling difficulties and Wahlberg was again up for the part, with additional rumors of Channing Tatum or Ryan Gosling possibly taking the role, as well as James McAvoy.

[30] It was confirmed in January 2012 that Gutiérrez had signed on to direct the remake, with Edward R. Pressman, Ryan Kavanaugh, and Jeff Most on producing duties.

[32] Jesse Wigutow was attached as screenwriter while Dan Farah would join Bob and Harvey Weinstein, and Tooley as executive producers.

We're thrilled to have teamed with director Javier Gutiérrez and screenwriter Jesse Wigutow on this story, which remains true to the core of Eric Draven's plight for revenge.

[43] On November 21, 2013, Schmoes Know had reports that Norman Reedus was up for the role of a character named "James", and that Kristen Stewart had at one time been considered for the part of Shelly.

[76] The following month, Rupert Sanders and Zach Baylin were announced as director and writer, while Edward R. Pressman and Malcolm Gray co-produced.

[77] On April 1, 2022, it was announced by The Hollywood Reporter that Bill Skarsgård, whose brother Alexander was formerly in talks for the lead role, would star as Eric.

[7][39] In the same month, it was reported that FKA Twigs would star as Shelly Webster, while Victor Hadida, Molly Hassell, and John Jencks joined as producers.

[7] To ensure the safety and comfort of all the cast and crew in light of the 1994 film's shooting incident as well as the then-recent similar incident on Rust, Sanders met with the special effects department and armorer in Prague the first day, and told them that no firing weapons would be used on his set, using airsoft guns instead even though it cost them a bit of the very limited visual effects budget's money to add a muzzle flash and smoke, with Sanders feeling that the film's visual effects were very much in-camera and shot at a location with set extension.

Skarsgård arrived directly from shooting Boy Kills World (2024) and worked four straight months with no complaints and very few free days, even doing a scene where he was covered in black syrup, despite it being the last night.

When asked about this during his Esquire Magazine interview, he mentioned how the ending made the path for a sequel easier, stating "I personally preferred something more definitive.

[9][8] In the United States and Canada, The Crow was released alongside Blink Twice and The Forge, and was initially projected to gross $6–9 million from 2,752 theaters in its opening weekend.

The website's consensus reads: "Dreary and poorly paced, this reimagining of The Crow doesn't have enough personality or pulse to merit the resurrection.

[98] Benjamin Lee of The Guardian wrote: "It was no real surprise that a tortured update of 1994's cursed goth revenge thriller The Crow would be a misfire – it's been in development since 2008 with multiple directors and actors attached ever since – but it's genuinely startling just how utterly wretched the finished product is and how unfit it is for a wide release.

"[105] Alison Willmore of Vulture was critical of the overall production and commented upon the acting, saying that "Skarsgård and Twigs have a total absence of chemistry, and while she's adequate in what's still basically a dead-wife role, he's shockingly inert for someone with a career built almost entirely on characters at the intersection of creepy and hottie.

[109] On a positive note, Rafer Guzmán opined that The Crow was "an improvement on the 1994 film version", adding that it "feels less like a comic-book movie and more like an edgy romance from a hip studio like A24 or Neon."

For everyone else, however, the latest adaptation of the dark anti-hero kind of just feels like another R-rated take on the oversaturated superhero genre that plagues modern movie theatres everywhere.

"[112] Matt Zoller Seitz offered qualified praise in his review for RogerEbert.com, writing that "for all its disappointments and missteps—including a lack of imaginative compositions, and some muddy or milky nighttime photography—the movie's got something—a specialness, an aura, or maybe just an obvious purity of intent—that ought to inoculate it against charges that it's just a cash-grab remake.