This thing has released!? I know I'm not the demographic, but damn did this have any promotion? It's August. Just in time to connect it to summer? Back to School? American Labor Day? California Admission Day?
For a film like this to breakthrough, it needs a killer soundtrack. A concept like The Crow has to be very visual. And without a ton of raw acting firepower and a basic level script, you need something else to uplift the film. The 1994 version of The Crow is a dramatically different film without it's soundtrack and score. And it's a much harder film to have succeed without Alex Proyas' consistent way above the baseline visual aesthetics.
Interstellar, IMHO, is the most current high profile test case of how you can carry a bad script with other elements moving at a phenomenal scale to uplift the entire production. Interstellar has an incredible amount of raw acting firepower. Even in the smallest of roles. And it needed it because that script was truly ugly. Hans Zimmer saved that film, he saved Nolan's bacon on that one, because it was the soundtrack and score that elevated so much of Interstellar into an actual "experience" On the other end of the scale, Zach Braff's Garden State was a low budget film where the well curated soundtrack gave the film some added punch that was not quite there otherwise.
When James O'Barr created the graphic novel, the base concept was more of a reflection of storytelling at that time. A snapshot to a previous generation and how they conceived protagonists and tragedy. In a modern case, IMHO, it would have been simpler to make Eric Draven and Shelley Webster's deaths as morally ambiguous. I.E. the people who killed them were not right, but they had a point. Doing that would reset the narrative away from the love story element, which frankly is not something you want to rely on to hook an audience if you have essentially a non actor being asked to do half the heavy lifting ( FKA Twigs is not an actress by trade, so there's a struggle there)
The current casual movie going audience in America is simply going to be hyper reactive to any oppressed/oppressor themed storylines. I don't even know if you could release something like The Hunger Games in today's current industry climate. The ideal is that all the major factors of a film production knock it out of the park. But if one phase doesn't, there has to be a logical tradeoff where you can compensate for it. For example, if Bill Skarsgard gave the acting performance of his life, and critics loved it, but the action, visuals and soundtrack all fail, then it's not going to help the overall impact desired.
If it was up to me, if I had to manage an actual writers room on The Crow, I'd make the main character ( not Eric Draven anymore but someone else) a child molester. I.E. he's not here to kill monsters. He's here to show he's the biggest monster. I'm sure some of that might be off the rails for some here. But it wouldn't be boring. And it would play to Skarsgard's actual established strengths. The current Crow concept unfortunately has a express elevator to boring and it happens real fast.