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Dear The Raven,

It is possible to make a pretty engaging or at least curiously interesting narrative using historical figures, even if the basic premise is viciously ridiculous. For instance, I am really looking forward the upcoming film Abraham Lincoln Vampire Hunter, even though the pretentions toward reality in that film seem to be wholly absent. Meanwhile, your attempts to at least fit into a plausible interpretation of reality are greater, and yet I can already predict that I will have more fun at that other film than I had with you.

John Cusack as Edgar Allen Poe

On a basic script level, you really don’t have much meat to your story beyond the log line that probably got you the green light in the first place. Edgar Allen Poe is brought in by the Baltimore police in order to help solve a series of murders inspired by his fiction. It is a simple idea, and yet one with limitless possibility for stylish, smart thrills with an interesting period setting.

Yet, in spite of this heady promise, you fail to create anything that could really be considered worthy of recommendation. John Cusack as Poe is a suitable avatar for the author, though he is held back from creating a truly memorable character by the limitations of the script. Aside from one or two exceedingly verbose lines, we don’t get a feel for Poe as a writer or intellect of any great power. Similarly, Poe’s well-known tendency toward debauchery of the chemical variety is greatly underplayed. It is mentioned, and we see him drinking now and then, but we never get a sense of this aspect of his personality as anything that actually affects him.

Giving him a standard star-crossed love interest is another failing. As pretty as Alice Eve is in the role of Emily, she adds little to the story other than to give Poe more of a reason to be invested in the case personally. His chemistry with her is minimal. Also lacking is any kind of interesting reparte between Poe and Inspector Fields (Luke Evans). In films or television shows that feature this kind of plot (particularly Castle) the relationship between the no nonsense cop and the debauched author is what gives the story its spark, and yet you fail to ever elevate their interplay. They seem nearly constantly in a state of just getting to know one another, and really aside from Poe giving plots from his stories, he offers very little to the investigation.

Alice Eve plays Emily, Poe's love interest.

Likewise, your period setting and the gothic tone you try to set fail to ever materialize into a sense of real atmosphere. Sure there is mist, and wet cobblestones, and gas lights, but none of this ever becomes cohesive or encompassing enough to really feel as though the characters exist within the space. This is a larger problem with your production as a whole. There is no style behind the production design to match the vision of the film within the world of the film, and so everything feels stagey and thin. There should be a visual flair that helps to elevate the gothic, pulp material, but instead we get fairly workmanlike compositions.

Are you a bad film? No. But you aren’t particularly good either. You exist, you glow on the screen, and I watched without complaint, but upon leaving the theater I’d already begun to forget certain aspects of your tale. You’re a transient film, nebulous, insubstantial. In keeping with your horror fiction subject matter, I’ll call you a ghost, the wisp of the spirit of a better film. And given the wealth of places that you could have gone, that is an even greater shame.


Gone and forgotten,

Brian J. Roan

3 thoughts on “Dear The Raven,”

  1. Ric says:

    Damn, were going to need a bigger drum.

    1. Brian J. Roan says:

      Yea, none of this is boding well for the summer. I see The Avengers on Tuesday, though, so hopefully that picks up some slack.

  2. Sam Fragoso says:

    I want to see this purely because of Cusack.

    I’m sure it’s silly as you say, and will be “forgotten” – I still am interested.

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