The Spirit is a comic that I have zero experience with. However, with a little research it appears that the character is an important one to comic history. Created by Will Eisner, the character first appeared in 1940 and has been seen in a variety of interpretations ever since. Eisner's character was placed into all manner of stories from crime to noir, from horror to comedy, it does not appear that the Spirit ever met a tale he did not like. He even had a well populated cast of supporting characters, both friend and villain, many of which have survived the translation to the big screen.
Miller's story has our hero, played by Gabriel Macht, facing off with one his mortal enemy The Octopus, memorably portrayed by the inimitable Samuel L. Jackson. Their fight seems to be one that has been ongoing for some time, their lives intrinsically linked, neither ever able to get the upper hand on the other. When they are not fighting each other to a perpetual draw, Spirit is out fighting whatever crime he can under an agreement with Police Chief Dolan (Dan Lauria). Meanwhile, Octopus is working at finding an ancient artifact that will help him cement his power. Helping him are Silken Floss (Scarlet Johansson), a brilliant woman who keeps his operation going, and a seemingly endless supply of genetically engineered copycat goons (Louis Lombardi).
Anyway, that is about all the story there is. The way it plays out is more of just a plot than it is a story, as none of the characters have all that strong of a character arc to speak of. Looking for development of characters? Do you want to discover character motivations? Do you want an intriguing, noirish look into a world of comic crime? Well, you'd be better served revisiting Sin City. Not to say that what you need is not to be found here, it just is not all that interesting.
The Spirit has a look that is a cross between Sin City and 300, it has that distinct "digital backlot" look signifying a ton of green screen work. The images are composed in such a way that they could have only been laid out by someone well versed in a visual medium. The problem is that they all seem to have been set to be stills. Yes, the images are moving, but the intent is for them to be the panels of a comic, unlike what was done in Sin City which used the panels as story boards from which to plan the action. The difference is a fine line, but one that is noticable when watching the action move on the screen.
Frank Miller has made some strange decisions, but the finished product is still eminently watchable. It takes the phrase "comic book movie" to a whole new level, skipping the adaptation part going straight to the shooting the panels, bypassing the part where the heart and character on the page is imbued with moving life required when bringing real life people into the equation. At the very least it is a movie that took a chance made by someone who is working outside of the Hollywood machine. Like it or loathe it, it is not business as usual.
Bottomline. Yes, I like this movie. No, it is not a "good" movie by the usual definition, but it is very interesting. It is funny, it is strange, and it is enjoyable. If you want something that is off the beaten path, leave you with more questions than you started with and oddly satisfied at the same time, this may be the movie for you.
Recommended.
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