The Spirit (2008)
by Steve Habrat
Imagine if Sin City tried to be funny and refused to take any of its characters seriously. Don’t want to? Yeah, I don’t blame you. Director Frank Miller (Yes, the comic book writer) seems to not be able to shake the visual approach of his 2005 film Sin City (Remember, he co-directed Sin City with Robert Rodriguez) and carries the curious look over to The Spirit, an overly campy and convoluted superhero film based off the comic strip by Will Eisner. Miller so desperately wanted to film a moving comic strip that he pays absolutely no attention to the storyline or the characters and instead obsessively pours over the visual look of his film. The Spirit is a visual knockout, that I can say, but the rest of the film leaves a lot to be desired. The storyline is monotonous and at times almost unintelligible and the hero is so dull that you may find yourself forgetting to root for him. Miller pits this square against the Octopus, a villain that goes through more wardrobe changes in this film than any pop singer at a concert. Stir in a handful of hot babes and you have an over seasoned recipe for disaster.
The Spirit takes us to Central City and introduces us to Denny Colt (Played by Gabriel Macht), an undead police officer who prowls the streets of the city as the Spirit, a masked crime fighter/detective. The Spirit receives a phone call one evening from Detective Sussman (Played by Dan Gerrity) about something strange going on down by an old shipwreck on the outskirts of Central City. The Spirit makes his way to the shipwreck where he bumps in to a femme fatale from his past, Sand Saref (Played by Eva Mendes), who is trying to make off with two mysterious crates. Saref is foiled by the Spirit’s arch nemesis the Octopus (Played by Samuel L. Jackson), a villain in one awful costume after another. After gunning down Sussman and forcing Saref to leave one of the crates behind, the Octopus claims it for himself and calls in his sidekick Silken Floss (Played by Scarlett Johansson) and his army of cloned henchmen (All played by Louis Lombardi). The Spirit confronts the Octopus and the two engage in a massive brawl that ends with the Octopus telling the Spirit that they share a connection. As the Spirit investigates Sand Saref’s reemergence in Central City and his mysterious connection to the Octopus, the Spirit discovers that the Octopus is on a quest for immortality, a quest that could threaten the entire city.
Shallow right from the beginning, Miller never allows us to really get to know Denny Colt, the man behind the fedora and mask. He sprints around rooftops in all black with a fluttering red tie as he explains to us in a voiceover that he is “in love with his city,” she always “provides” for him, and that his “city screams.” As the Spirit, Denny can take quite a bit of punishment because he is, well, a spirit. He spends most of the film outrunning an otherworldly Angel of Death called Lorelei (Played by Jaime King), who coaxes him into the afterlife where he belongs. All of this is supposed to count as character development throughout The Spirit but it is mostly there to lead to one trippy sequence after another. A scene where the Spirit drifts through an afterlife hallucination sure does radiate vision that would have looked marvelous in a comic book but just seems pointless on the big screen. In fact, almost everything in The Spirit is meaningless and silly, almost like Miller just smashed a bunch of images together that he thought would look great. This is even more apparent in the Octopus, who dressed up in one ridiculous costume after another as he paces around plotting how to kill the Spirit. He is just bizarre for the sake of being bizarre, no explanation required.
Then there is the humor and tongue and cheek antics that further make The Spirit the eye-rolling experience that it is. It tries to wink at us even thought it wants you to think that it is really cool. Take things seriously but not too seriously, says Miller! Miller blends together slang from the 1940’s with modern day technology in an effort to really give his universe some pizzazz but you are left wondering why he didn’t just stick to the 40’s all together. The performances by everyone involved seem a bit confused, diffident, or disinterested, no one daring to do the unthinkable and stand out. Honestly, it wouldn’t have been hard considering the lifeless script that Miller provides. The driest is without quest Macht as Denny Colt/The Spirit, who appears to be sleepwalking through the entire film. When he is pitted against Jackson’s Octopus, he practically disappears from the frame but not because Jackson is particularly good, just that he holds the screen better than Macht. Jackson, meanwhile, barks through dialogue like “toilets are always funny” as he smashes the Spirit over the head with a porcelain throne. He is more comical than sinister. The ladies are all there to be sexy, mostly Mendes who gets to shed her clothes in one scene and show off her backside, a scene just to drive fanboys wild. I hate to break it to Miller but this still does nothing to liven things up. Then there is Lombardi as the sea of cloned henchmen who are more irritating than funny like they are supposed to be.
It really became a chore to not nod off while watching The Spirit and I usually never have that problem. This film is like watching glowing white blood dry (trust me, there is glowing white blood in The Spirit). There is nothing in the way of remarkable action, no character worth giving a damn about, and a plot line that was so disjointed and confusing that I couldn’t get swept up in the story. Maybe if you zapped the dialogue out of the film and played a collection of songs over the images, it would make for one hell of a music video (it is just a suggestion). It is obvious that if Miller had a good script, he could make something that would really be a must-see but The Spirit is just not that film. I’d be interested to see if he ever returns to filmmaking but let’s hope he doesn’t write it. Sadly, it feels like Miller ripped off his own material and we are all left wishing that he would have made Sin City 2. Overall, if you insist on watching The Spirit, make sure you down an energy drink, munch on plenty of sugary candy, and maybe even have a pot of coffee on hand. You are going to need it if you are going to get through this dud. I guess the Spirit should have stuck to haunting the pages of comic books.
The Spirit is available on Blu-ray and DVD.
Posted on July 24, 2012, in REViEW and tagged action, adventure, dan gerrity, eva mendes, frank miller, gabriel macht, jaime king, louis lombardi, robert rodriguez, samuel l. jackson, sin city, superhero movies, will eisner. Bookmark the permalink. 2 Comments.