Mania Review: The Raven - Mania.com



Mania Grade: D+

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Info:

  • Starring: John Cusack, Alice Eve, Luke Evans, Brendan Gleeson, and Kevin McNally
  • Written by: Ben Livingston and Hannah Shakespeare
  • Directed by: James McTeigue
  • Studio: Relativity Media
  • Rating: R
  • Run Time: 111 minutes
  • Series:

Mania Review: The Raven

Nevermore, dude.

By Rob Vaux     April 29, 2012

 Failures don’t get any nobler than The Raven, a rather awful film that tries with all its might to be great. We root for it every step of the way, for it aspires to the extraordinary and seemingly has the tools to get there. Watching it utterly fail to capitalize on its potential – despite the heroic efforts of everyone involved – hurts all the more because we empathize with the effort so deeply. If you shoot for the moon and miss, it’s a long way down. The Raven gives us a front-row seat to the plummet.

Literary aficionados must salivate at the thought of Edgar Allan Poe (John Cusack) taking the role of one of his fictitious detectives on the hunt for a serial killer. The concept brims with possibilities, of which director James McTeigue is well aware and strives with all his might to realize. The killer, a stalker fan of Poe’s, bases his murders on the author’s famous stories: a locked-room death for “The Murders in the Rue Morgue,” a walled-up victim for “A Cask of Amontillado,” one poor sod (a critic no less) given a personal look at the pit and the pendulum, etc. The police summon Poe – alcoholic and destitute – to help them catch the killer. The stakes rise when Poe’s fiancé (Alice Eve) is abducted and threatens to join the list of the dead.

The Serbian locations make an excellent stand-in for 19th century Baltimore, especially when McTeigue adds twisting mists and the uniquely Gothic atmosphere of October weather. Fact and fiction merge as we watch Cusack stumble despondently along the thoroughfare, mediating on the cruelty of the universe while slowly drinking himself to death. But as the plot grinds forward, both the atmosphere and marvelous Seven-style premise quickly fall apart.

Much of the difficulty lies in the presentation of each set piece, as ponderous set-ups and clumsy execution rob the structure of its wit. The Raven explains too much too soon, then delays the pay-off until all the coolness has been leeched away. Its clumsiness compounds the fact that each scene lacks any dramatic timing. The concepts feel half-realized, with uneven development and concepts more powerful in the abstract than the concrete. With the exception of the pit and the pendulum bit (which carries a fine sense of the grotesque), they uniformly fail to deliver the requisite punch… and in a few late cases, actively invoke derisive laughter.

The larger storyline struggles with the same problems. The investigation plods forward rather than elegantly leading us, and the characters connect the dots far too easily to sell us on the grand mystery. The filmmakers struggle with real-life aspects of Poe added to the mix, particularly the questions surrounding his final days and his fixation on frail, doomed women. It all comes to a dreadful head when the killer is finally revealed: a moment that evokes neither the expected shocks nor any sense of satisfaction

Which brings us to Cusack, at once the most fascinating and frustrating aspect of the entire film. He certainly looks the part, and his signature combination of intelligence and snark fits well with Poe’s fatalistic genius. But as bravely as he attacks the role, he also overplays his hand too often: his manic bouts become hammy rather than haunting.  A more disciplined structure might have helped, but without solid backing from the plot, he’s left to sink or swim (mostly sink) alone.

The best one can say for The Raven is that it makes one hunger for the grand old Vincent Price productions of the 1960s, or better yet, curl up with some of Poe’s original works. Its failure on its own terms becomes more sad than enraging, a marvelous concept engineered by people who want nothing more than to do right by it. They meant so well, they tried so hard, and we mourn that misspent energy as much as they do. That grants it a strange sort of honor… though it doesn’t make the act of sitting through it any less of a chore. 

COMMENTS AND RESPONSES

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karas1 4/29/2012 3:46:24 PM

I saw it this afternoon and I rather liked it.  I enjoyed the gothic atmosphere and the period costumes.  My familiarity with Poe's works gave me a good time as I tried to guess which story of his was going to be riffed on next.

I thought the heroine was very engaging.  Far from the frail flower of Poe's fiction she was a girl with courage and spunk.

GothicStorm 4/29/2012 9:56:27 PM

Rob, you must have watched an entirely different movie than the one me and my daughter saw. This film was nicely done and paid great tribute to the gothic poet himself. My daughter and I went into the theater with mild-expectations and came out very surprised at how well the story and acting was done. I'm not certain what this film's budget was, but I was highly impressed at the settings, clothing and action sequences. It was very suspenseful and kept us guessing until the very end. Mind you that my daughter and I both figured this who-done-it out before the film's revelation, but it was very enjoyable to see Poe's realization.

Poe's death was a very strange one indeed and many do believe someone had a hand in his demise. Now, I will not sit here and tell you this film is better than the new Sherlock Holmes franchise. BUT, I will say it stays much truer to Poe's character than the 'action-packed' Hollywood-drubbed Holmes. Sorry, Robert Downey Jr... *grin*

kalonthar 4/30/2012 2:31:59 PM

All I know is that the movie isn't doing too hot on RT or Metacritic and its weekend box office was only good enough for 7th place.

Mooncrow 4/30/2012 11:37:16 PM

Saw it on Sunday, and while maybe not a D for me, it's was pretty slow, which I think is the real enemy of the success of this film. It's well acted and looks great but, still very "meh."

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