The stories of Edgar Allen Poe have enthralled horror fans for more than a century. He has been quoted as inspiration for blockbuster writer Stephen King, and lesser known but equally dynamic writers such as H.P. Lovecraft. Poe was known for his eerie attention to detail and his vivid description of his central character’s frame of mind. With stories such as “The Pit and the Pendulum,” “The Tell-Tale Heart,” and “The Cask of Amontillado,” his art of sending chills up reader’s spines was unparalleled.
When James McTeigue (“V for Vendetta”) took the helm to Direct “The Raven“- a film featuring Poe’s stories as the fodder for the movie’s murder mystery, audiences’ curiosity was peaked. Further details only increased this captivation- such as the fact that Poe himself would also appear in the film. Poe investigating murders based on Poe? It seemed like an enticing way to present what could otherwise be another in a line of hackneyed period pieces. And with John Cusack, known for such blockbusters as “High Fidelity” and “Con Air” playing Poe himself, the movie promised to be a winner. However, with an over-reliance on gore, as well as a plotline that struggles to vindicate itself with a less than shocking finale, “The Raven” may leave many would-be fans cold.
The movie begins by introducing us to Poe. He’s a loveable loser, arrogantly seeking approval of his writing in dingy bars and pressrooms, narrowly getting beat up along the way. Revered by many for his horror writing, Poe prefers to publish literary criticisms of fellow poets rather than pen a new yarn to please the masses. But there’s a reason – he doesn’t think he has anything left to tell. Contrary to what some critics stated, John Cusack does not do a bad job portraying the literary icon. He is engaging and an unlikely hero to root for. Though much doubt is shrouded around Poe’s last days and how he died, helping to solve a crime could be just as believable as any. It’s far more likely that Poe was revered for his macabre tales, but preferred to write poetic criticism, than he was a master of horror that longed to dwell in his dark and solitary mind.
As much trouble as Poe almost gets in along the way, no man seems to hate him more than Captain Hamilton (Brendan Gleeson, “Braveheart,” “Gangs of New York”), who absolutely despises him and threatens to shoot him in an early scene for talking to his daughter, Emily. Hamilton, however, is unaware that Poe is in love with his Emily (Alice Eve, “Sex and the City 2”) and that the two are planning a marriage under his nose. She plans to announce their engagement at Hamilton’s yearly Masquerade Ball.
However, “The Raven” presents a very morbid way to resolve this tension – a serial killer has begun to murder citizens of Baltimore in a very Poe-like fashion – setting the stage for Poe’s involvement in the police investigation. Up until this point the movie has been fairly entertaining, rendering the people and setting of the 1840s very well. Cobblestoned streets, horse drawn carriages, ink jars for writing, and pocket watches the fashion, the movie, as a period film, accomplishes its job of transporting you back to this era. No fault can be given to the proceedings for setting, acting, or costume. However, it is in the commencement of the killings by the antagonist that the movie falls remarkable short.
For instance, fans of Poe’s writing will doubtless recall the agony that the central character in “The Pit and the Pendulum” endured lying in wait for the enormous pendulum to cut him in half. It seemed to take days. If this was a strategy on Poe’s part to draw out the torture, it was effective in keeping our attention heightened. Fear was struck because we never knew when the pendulum would strike. However, in “The Raven” when a man is murdered by a pendulum it is full-on gore, completely lacking in suspense or build up. A man is severed in half in a matter of sixty seconds, with CGI blood flying toward the camera. It’s a lot of effects without any connection to the victim. He’s introduced, screams for a while, and is quickly dispatched.
On a soapbox side-note, the disappointing thing is that this seems to be a new phenomenon that shows absolutely no signs of abating. This practice of introducing drawn out scenes of gory murder, and supplanting them for suspense, has been occurring really ever since the 2003 reboot of “The Texas Chainsaw Massacre.” Where before suspense was built by the victim lurching closer and closer to the killer’s clutches, but was quickly dispatched, now there is no buildup. Victims in these movies are quickly accosted by the killer, and then slowly and methodically tortured and killed. It’s revolting, unpleasant, and, most times, unnecessary. But it’s never scary.
Likewise, much of the other killings based on Poe’s stories are laced poorly together, and lack any kind of build up. They are offered as plot, and as a game that Poe must himself now play. Emily has been kidnapped, and is used to lure Poe into the madman’s sinister game if he is to save her in time. However, as Poe travels deeper and deeper into the mind of this madman, he is enlisted by Detective Fields (Luke Evans) to stop the killer before it is too late.
Where the “The Raven” shines is its recreation of 1840s Baltimore. While set pieces of this type have been shown before (2001’s “From Hell,” 2011’s “Sherlock Holmes”) it is no less marvelous here. The dreariness and atmosphere of the setting, especially later scenes involving the woods, add to the creepiness the movie hoped its plot would offer. Additionally, the acting is good all around. Cusack does a believable job playing Poe, Luke Evans is marvelous as Detective Fields, and Brendan Gleeson is superb as the stubborn Hamilton who must come around by the end of the film as he fights for his daughter’s safety.
Where “The Raven” fails, unfortunately, is in its representation of its plot progression. While the killer is methodical and ruthless, he has too much of that unbelievable element that loses audience’s already checked suspension of disbelief. He’s always one step ahead, not because he’s just that good but because the script requires him to be. And if he’s brilliant, he’s also seen as virtually invincible. While Detective Fields is shot by the man and injured for most of the end of the movie, a clear shot at the killer’s neck by a deputy is unexplained. The killer continues on, absolutely fine, as though he had brushed off a shallow punch. While this trait makes horror movie villains such as Jason Vorhees and Michael Myers more fun, it is ridiculous when applied to people who are clear flesh and blood and are presented as such.
“The Raven” has its ups and downs. If you like Victorian Era set pieces, John Cusack’s acting, or state of the art special effects, you should see this movie. If, however, you are a fan of Poe’s work or methodical, well-paced macabre tales, you may be led astray. “The Raven” has more elements in it of 1999’s “The Bone Collector” than Jack the Ripper. Its reveal at the end is lacking and really doesn’t make all that much sense. But at the end of the day it is entertaining, and that may be enough. Just don’t go in expecting a redefinition of this “pseudo-modern” horror genre.
– by Mark Ziobro
