Dr. Crews was the psychiatrist of psychic Tina Shepard who was only using her to further his studies and research in hopes of becoming famous. He was the tertiary antagonist in the 1988 slasher film Friday the 13th Part VII: The New Blood.
Dr. Crews, nicknamed "Bad News Crews" by his patient Tina, is an institute appointed psychiatrist in charge of helping Tina learn to both control and better manipulate her telekinetic and clairvoyant abilities.
He decided to bring Tina back to Crystal Lake several years after the accidental murder of her father John Shepard, allowing her leave from the mental hospital in order to better control her telekinesis. Crews is seen deliberately aggravating Tina in order to get her to show her powers, but it's this provocation that causes Tina to accidentally free Jason Voorhees from his trappings at the bottom of the lake. Tina soon experiences a vision of Michael being murdered by Jason with a large spike, and finds an identical weapon buried in the side of the porch outside. Crews hides this spike in his desk to prevent Tina's mother growing suspicious.
Mrs. Shepard soon discovers the spike hidden in Crews' desk, along with various audio diaries detailing his efforts to get Tina to show more of her telekinetic abilities. She accuses Crews of exploiting her daughter, but before either of them can follow through on their threats, they discover that Tina has taken her mother's car in an attempt to flee. They pursue her into the woods in Crews' car, and find the other vehicle wrecked on the side of the road.
While searching on foot, Jason appears, and Crews selfishly uses Mrs. Shepard as a human shield to protect himself, resulting in her demise. Crews attempts to flee back to the house, but Jason corners him, armed with a motorized branch saw. Crews barely has time to scream before Jason sticks the whirling blade into his stomach, gutting him.
He is the 67th victim of Jason Voorhees.
Crews' death scene was heavily cut by the MPAA. The original showed his stomach and innards being torn up by the blade of the saw, while the theatrical cut only shows the blade make contact with his body before cutting away.