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ON FAITH & MEDIA View Comments

The Raven

By
John P. McCarthy
Source: Catholic News Service


Luke Evans stars in a scene from the movie "The Raven."
The macabre musings of Edgar Allan Poe have been adapted for the screen numerous times. In the latest instance, Baltimore's most famous literary son is not only the central character—he's also credited with being the progenitor of the horror movie genre.

While the makers of "The Raven" (Relativity) articulate the latter idea near the end of the proceedings, and only in passing, they're clearly banking on it animating their tale. Instead, casting Poe as the forerunner of, say, low-budget horror director Roger Corman only underscores our sense that the author's oeuvre is being picked at and that the film is straining to bring gravitas and wit to its own workaday mayhem and melancholia.

The grotesquery presented renders "The Raven" unsuitable for a majority of moviegoers and its failure to surprise will disappoint adults who self-identify as horror fans. Perhaps more unsavory than the images and scenarios themselves, however, is the underlying assumption that the reading or viewing public is naturally drawn toward morbidity, gore and sadism.

Either way, the titular bird's associations with death and scavenging are fully borne out.

A title card at the outset states we'll learn how the real-life Poe came to be discovered near death on a Baltimore park bench in 1849. This isn't the only mystery, real or fictional, that fails to be solved satisfactorily.

Short of funds and inspiration, the middle-aged Poe (John Cusack) scrounges for work to pay his bar bills and, more nobly, to put himself in a position to wed his high-society beloved Emily (Alice Eve). Yet Poe's prospective father-in-law, Captain Hamilton (Brendan Gleeson), has no intention of letting this caustic, gloomy and besotted scribbler marry his daughter.

Perversely enough, Poe's redemption will be achieved through a series of ghastly murders inspired by his stories. A serial killer painstakingly enacts crimes that Poe has described on paper, gruesomely claiming innocent lives while toying with the author. Detective Fields (Luke Evans), the police officer assigned to investigate, enlists Poe's help in catching the perpetrator, who raises the stakes by kidnapping Emily.

The plot turns are nothing if not predictable and director James McTeigue doesn't exhibit sufficient finesse to smooth over logical wrinkles. Despite a promising premise, scant frights and little suspense are to be found in the campy, ill-formed piece.

The game and always likable Cusack brings a gothic hipness to the role and yet, matching the screenplay, the performances are overripe across the board. Injecting enough purple bombast to fill the Chesapeake Bay fails to enliven this cadaverous entertainment.

At one point, Poe bellows, "Is imagination now a felony?" While it doesn't warrant incarceration, there's no doubt "The Raven" is guilty of displaying too little of that valuable commodity.

The film contains frequent and explicit grisly imagery and violence, some profanity, one instance of rough language, much crude and crass talk and several instances of sexual innuendo. The Catholic News Service classification is L—limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is R—restricted. Under 17 requires accompanying parent or adult guardian.

*****
John P. McCarthy is a guest reviewer for Catholic News Service.



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Augustine of Hippo: A Christian at 33, a priest at 36, a bishop at 41: Many people are familiar with the biographical sketch of Augustine of Hippo, sinner turned saint. But really to get to know the man is a rewarding experience. 
<p>There quickly surfaces the intensity with which he lived his life, whether his path led away from or toward God. The tears of his mother (August 27), the instructions of Ambrose (December 7) and, most of all, God himself speaking to him in the Scriptures redirected Augustine’s love of life to a life of love. </p><p>Having been so deeply immersed in creature-pride of life in his early days and having drunk deeply of its bitter dregs, it is not surprising that Augustine should have turned, with a holy fierceness, against the many demon-thrusts rampant in his day. His times were truly decadent—politically, socially, morally. He was both feared and loved, like the Master. The perennial criticism leveled against him: a fundamental rigorism. </p><p>In his day, he providentially fulfilled the office of prophet. Like Jeremiah and other greats, he was hard-pressed but could not keep quiet. “I say to myself, I will not mention him,/I will speak in his name no more./But then it becomes like fire burning in my heart,/imprisoned in my bones;/I grow weary holding it in,/I cannot endure it” (Jeremiah 20:9).</p> American Catholic Blog Lord, please fill my heart and soul with the confidence that you will always provide what I need, when I need it, and let me be obedient to you.

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