The Spirit Reviews

  • Full of burnt-end romance and 'style,' but robotic at its core.

    Owen Gleiberman — Entertainment Weekly

  • What is most striking about The Spirit is how little pleasure it affords, in spite of its efforts to by sly, sexy, heartfelt and clever all at once.

    A.O. Scott — New York Times

  • Frank Miller's adaptation of the antique comic strip by Will Eisner is brash, noisy and so alarmingly ill-paced that it should, by rights, come with a software package that allows viewers to recut it as they see fit.

    Xan Brooks — Guardian [UK]

  • The Spirit is uneven, but its campy adventure provides some amusing, escapist fun.

    Claudia Puig — USA Today

  • Good comic books suggest action through abstraction, but The Spirit plays like an overproduced diorama.

    Carina Chocano — Washington Post

  • Miller turns The Spirit into a hambone farce. Worse, by hiring well-known actors and indulging their worst impulses, he destroys the tart irony Eisner built into every frame.

    Ty Burr — Boston Globe

  • Miller, comics-writing icon turned director, has rendered comics-industry revolutionary Will Eisner's crime fighter Denny Colt a grim shade of dull -- all talk, no action

    Robert Wilonsky — Village Voice

  • The incomprehensible plot has something to do with a stolen elixir of eternal life. But that's beside the point, since all the director cares about is the film's noirish look and pulp fiction feel.

    Elizabeth Weitzman — New York Daily News

  • There is not a trace of human emotion in it. To call the characters cardboard is to insult a useful packing material.

    Roger Ebert — Chicago Sun-Times

  • Frank Miller wrote and directed this adaptation, in a visual style lazily close to that of his Sin City.

    Michael Phillips — Chicago Tribune

  • Someone get this man a decent script.

    J. R. Jones — Chicago Reader

  • Maybe if there was something going with the dialogue -- snappy Chandlerisms, say, or even just sentences that made sense -- the fussy digital artifice of The Spirit wouldn't seem so, well, dispiriting.

    Steven Rea — Philadelphia Inquirer

  • It's not easy to make a thriller that's both incredibly convoluted and intensely boring, laboriously narrated yet befuddled, but Miller -- creator and co-director of Sin City -- triumphs on all counts.

    Colin Covert — Minneapolis Star Tribune

  • How do you critique acting that's willfully bad, a story that's purposefully crazy and dialogue that sets out to be stilted and cliched? You say The Spirit looks great but there's not much else there.

    Bill Goodykoontz — Arizona Republic

  • Pushing well past the point of self-parody, Miller has done Will Eisner's pioneering comicstrip no favors by drenching it in the same self-consciously neo-noir monochrome put to much more compelling use in Sin City.

    Justin Chang — Variety

  • Frank Miller on the big screen is like Scratchy or wasabi or a bass player -- he doesn't work on his own. He needs a partner, or some diluting ingredients, or maybe a restraining order.

    Kyle Smith — New York Post

  • This is what Sin City would have looked like without the restraining hand of co-director Robert Rodriguez behind the camera.

    Roger Moore — Orlando Sentinel

  • At which exact point The Spirit hits rock bottom is a matter of debate.

    Jason Anderson — Toronto Star

  • What a shame that The Spirit isn't nearly as good as it looks.

    Liam Lacey — Globe and Mail

  • The style is willing. But the spirit is weak.

    Stephanie Zacharek —

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