Movies
‘The Crow’ Remake is in Dire Straits
Relativity’s remake of The Crow is continuing to have issues getting off the ground. In a new move, the Edward R. Pressman Film Corporation, who produced the original 1994 film, has lodged papers to deny the studio from any rights to sequels, prequels, or remakes. This is a reaction to Relativity Media studio head Dana Brunetti’s decision to remove Corin Hardy (The Hallow) as director of the project, a move that Pressman says it was not consulted on.
Let’s break this down, shall we? In 2009, Pressman and Relativity decided they were going to move forward on rebooting The Crow by giving an option for three films. In 2014, Relativity exercised those rights and they then had three years to begin principal photography, something that still hasn’t happened.
However, as with any contract, there are rules and stipulations that must be adhered to lest a breach occurs. And that’s what Pressman is alleging happened when Brunetti removed Hardy as director of the film. The director, Pressman explains, “…is known for his visual flair, having a penchant for horror and dark subject matter. The parties believed that Mr. Hardy was particularly suited to re-invigorate The Crow, which is based on a dark tale of revenge told originally in graphic novel form.”
Because Hardy was removed without consultation, Pressman is claiming that this is a violation of the contract and, therefore, it wants to end all opportunities for moving forward. Pressman and Relativity already came to a holding deal for Hardy that amounted to $150,000, not to mention all the time it must’ve taken to lock things down, so it’s understandable that there is some frustration.
From the sounds of things, it looks like Pressman is basically done with Relativity and that this may very well signal the end of The Crow unless a new studio can step up to the plate and play ball.
[H/T THR]
Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.
For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!
That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.
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