The Crow appears in an aspect ratio of approximately 1.85:1 on this 4K UHD Disc. I felt pleased with this consistently positive Dolby Vision presentation.
Sharpness worked well. Next to no softness appeared, so clarity remained solid, as the movie felt crisp and concise.
Moiré effects and jagged edges presented no concerns, and edge haloes remained absent. Grain seemed natural, and print flaws were non-existent.
The Crow featured a stylized color palette, one that essentially went for a monochromatic look much of the time. The film brought out reds and oranges as well within its otherwise nearly black and white appearance.
Those hues looked solid and vivid, and I saw no problems related to bleeding or noise. HDR gave the colors added impact and punch.
Blacks seemed deep and rich. Shadow detail looked appropriately heavy but never excessively thick, as all low-light situations - and there were many - offered clear, well-defined imagery.
Whites and contrast got a boost from the disc’s HDR. All of this added up to a solid “A-” presentation.
For the most part, the film’s DTS-HD MA 5.1 soundtrack seemed to offer a nicely broad and engaging experience. The audio used all five channels to a good degree, and I found that both effects and music cropped up from all around frequently in the film.
Sounds moved reasonably well between channels, and at times panning could sound smooth and realistic. Other than a few vaguely-defined sequences, the soundfield provided a well-placed experience.
Audio quality generally sounded good as well. Dialogue displayed a few concerns, as some speech seemed mildly edgy and rough.
However, most of the lines were acceptably natural and distinct, and I detected no problems related to intelligibility. Effects could be a bit thick at times, but they usually seemed clear and accurate, with reasonable dynamic range and no distortion.
The film’s musical soundtrack combined a score from Graeme Revell and a variety of Goth/metal rock songs, and these are reproduced well. The score seemed acceptably clean and crisp, and the tunes showed appropriately sludgy and dense qualities.
I found that low end usually seemed strong. While The Crow didn’t provide a stunning auditory experience, it worked fairly well for the material and it earned an overall grade of a “B”.
How did this 4K UHD compare to the Blu-ray from 2011? Both came with identical DTS-HD MA 5.1 audio.
As for the 4K’s Dolby Vision image, it showed clear improvements, as it seemed better defined and also showcased more dynamic blacks and colors. Though the Blu-ray worked well, the 4K became an obvious step up in quality.
The 4K mixes old and new materials, and we find two separate audio commentaries. Also found on the Blu-ray, the first comes from director Alex Proyas.
In his running, screen-specific chat, Proyas discusses visual effects, cast, characters and performances, themes and story, costumes and makeup, sets and visual elements, influences, stunts and action, and related areas.
Proyas covers the film in a satisfying manner. He touches on a broad mix of topics and does so in a full, involving way. All of that adds up to an informative commentary.
Found on the 2001 DVD but left off the Blu-ray, we also get a track from producer Jeff Most and screenwriter John Shirley. They deliver their own running, screen-specific chat.
To my surprise, Most strongly dominated this affair, as he offered the majority of the remarks. Shirley chimed in on occasion, but it was really Most’s baby.
Although this seemed a little unfair to the writer - who appeared to want to say more but had trouble getting in his statements - I nonetheless thought the commentary was a solid piece that nicely illuminated a variety of aspects related to The Crow. While a variety of production issues were discussed, the emphasis more strongly stuck with character development and story points, plus we learned about how the whole “Crow” legend fit into this movie.
It’s clear that the crew gave a lot of thought to the material, and this commentary ably lets us in on their ideas. It’s a very compelling piece that I really enjoyed.
After this we find a Behind the Scenes featurette. This program lasts 16 minutes, 33 seconds and it appears to come from around the time of the film’s original release, as all of the information seems to have been culled during the production.
With the odd exception of Proyas, we hear from all the production’s main players. We get remarks from Most, producer Ed Pressman, art director Simon Murton, production designer Alex McDowell, author James O'Barr, stunt coordinator Jeff Imada, and actors Brandon Lee, David Patrick Kelly, Ernie Hudson, Tony Todd, and Bai Ling.
Despite the absence of Proyas, I found the “BTS” program to be a generally decent little featurette. It works best due to its immediacy and the focus on a variety of aspects involved in making the movie.
It also could be rather creepy to hear Lee discuss the movie’s subject matter and death in general. Oddly, the show makes virtually no mention of Lee’s demise other than a minor bit at the very end.
Actually, you’ll find very little coverage of that topic anywhere on the disc. I figured there’d at least be some sort of tribute to Lee, but the mentions of his sad fate are very few and far between, which comes across as vaguely tacky.
His death was so well-known that I felt it had to be addressed in the package, but the disc’s producers prefer to largely ignore it. I would like to hear about the controversies that surrounded the release of the movie.
Nonetheless, the “Behind the Scenes” featurette is a pretty interesting show, as is A Profile on James O’Barr. This 33-minute, 26-second program offers an October 2000 interview with the creator of the Crow comic, and it’s a fairly compelling piece.
O’Barr clearly led a messed-up life, and his discussion of these events was brutally honest. I was able to get a good insight into the origins of the comic and quite a few other details in this strong interview.
The Extended Scenes area provides three lengthened segments. Viewed as a whole, these run 11 minutes, 32 seconds.
For the most part, I found that the restored material did little to enhance the scenes. Really, the extra footage essentially just made the pieces more violent than they previously had been.
Along with the film’s trailer, we find a Deleted Footage Montage. This five-minute, 26-second section offers a variety of trims from scenes, some unused footage - including the “Skull Cowboy” - and a few outtakes.
It’s presented in a semi-music video style, with tunes in the background. Despite that addition, I could hear the appropriate audio from the shoot when necessary.
I thought this presentation provided a good way to provide a mix of material not long enough individually to merit inclusion as deleted scenes.
Two new additions exclusive to the 4K
follow.
These fill a total of 24 minutes, 10 seconds. Across the segments, we hear from McDowell.
Note that the 4K loses some still frame materials. It drops 300-plus storyboards as well as poster concepts and production design photos.