The Spirit

I really wanted to like this movie, so I entered the theatre expecting to see some old-school noir; true to the older comics the movie draws it's inspiriation from, along with Frank Miller's signature Sin City film looks.

Sadly, I left disappointed. The script is less than inspired. Rather than drawing directly from the comics, or having Eisner script the film, Miller wrote it himself. In places, the story and dialogue are a bit stiff, and the whole thing gives a very cobbled-together feeling that leaves you thinking that perhaps Miller wrote it over a series of coffee breaks, talking to twelve different people about what they expected from the film.

Miller indulges in inappropriate cliches (Denny Colt is somehow such an inveterate womanizer that he literally flirts with every woman he meets) and can't seem to decide if he wants the film to be serious, or old-style newsprint camp (one big fight scene leaves you expecting to see screen shots labeled with "Biff! Pow! Bam!").

The only performance in the film that leaves you with any kind of a smile is Eva Mendes, who delivers her hastily-written lines with such style, you almost forgive the content. Sadly, the star character (Gabriel Macht) comes off as rather one-dimensional. Shouldn't a guy who's cheated death be a little more interesting?

Samuel L Jackson pretty much speaks for himself. If you don't know what to expect from one of his performances by now, I don't know that I can help you there.

Lastly, another thing that bugged me, stylistically speaking, about this film: anachronisms. Are we going for 40's noir, or not? The entire film had the same style of cinematography as Sin City. It pretty much looked like Sin City. However, being based on a 40's comic, it looked like Miller was largely trying to go for a 40's noir look.

Except for the cell phones. And the weaponry.

And the Chuck Taylors the title character was sporting.

I mean come on, Chuck Taylors?

Seriously?