Jurassic Park saw classic ’80s blockbuster entertainment give way to the even sheenier, crisper branch of corporate ’90s filmmaking (very similar to ’80s blockbuster filmmaking, but much more interested in pushing the intersection of destruction and technology to its limits). For this reason, we find ourselves at a particularly strange place as we float on by 1993 and into the dark depths of the mid-90s. Cinema was only growing more indulgent, but the strain of American indies that had given light to the darkness of 80’s dramatic cinema was now entering its brightest stage of popularity and ubiquity. With corporate genre tentpoles and the distinctly dirtier world of ’90s indie filmmaking rattling around in a sort of cesspool, the two streams couldn’t but be crossed sooner or later.
It is with this that we arrive at 1994’s The Crow, an unlikely candidate for a ’90s blockbuster, but an important cult film nonetheless and a work which reveals the presence of a particular strain of ’90s filmmaking for all to see: the intersection of indie style/indie awareness of film history with the monetary aspirations of a blockbuster and the general desire to be things like “entertaining and actiony” to teenage males. If anyone needs more evidence as to this film’s peculiar placement in film history: it was released by Miramax films, the independent cinema distribution studio operated by the Weinsteins, right at the cusp of their becoming the film distribution company du jour throughout the back half of the ’90s. Indie cinema was being re-purposed into something corporate, and danger was assimilating into safety. Continue reading
It’s been a couple weeks, so here’s a double-dip of classic cult comic book movies for you, and some prime so-bad-its-good filmmaking on both counts. 
Update 2018: As is the case with so many of these roughly college-written reviews, I don’t exactly agree with this anymore, especially in my expression of my ideas, and often in terms of my ability to perceive the film’s ideas in the first place. I’ll let this review stand as is, but at this point in my life, I’d be inclined to argue that the film isn’t really taking pop to task as artificial, proposing a leaden pop and reality dichotomy, but rather using pop dialectically, to discover other avenues to truth – the truths of experimentation, adventure, silliness, spontaneity, artifice – that lie not necessarily outside but at least beyond observational documentary reality as it is conventionally understood. 
The Long Take 