SPAWN
A Film Review by James Berardinelli
RATING (0 TO 10): 5.5 Alternative Scale: ** out of ****
United States, 1997 U.S. Release Date: 8/1/97 (wide) Running Length: 1:35 MPAA Classification: PG-13 (Violence) Theatrical Aspect Ratio: 1.85:1
Cast: Michael Jai White, John Leguizamo, Martin Sheen, Nicol Williamson, D. B. Sweeney, Theresa Randle, Melinda Clarke Director: Mark A.Z. Dippe Producer: Clint Goldman Screenplay: Alan McElroy based on the comic book by Todd McFarlane Cinematography: Guillermo Navarro Music: Graeme Revell U.S. Distributor: New Line Cinema
Anyone going to SPAWN who is unaware of the film's origins will quickly determine that this is the descendent of a comic book. In addition to focusing on the exploits of a superhero (albeit an atypical one), SPAWN possesses the distinctive style and visual flair of a comic book-turned-motion picture (see THE CROW, BATMAN, and DARKMAN for other recent examples). Unfortunately, where the movie falls apart is in the storyline. While SPAWN fans may be delighted by this effort, the uninitiated may have a hard time getting beyond the fancy special effects and often-incoherent plot.
In a very palpable way, SPAWN is much like another of this summer's big budget releases, THE FIFTH ELEMENT. Both movies belong in the "style over substance" category, both present interesting visual packages, and both are less than satisfying. To succeed as a major motion picture, SPAWN has to appeal to those who do not regularly plunk down $2 for the comic book; this motion picture is a poor step in that direction.
SPAWN's underlying premise is, at its most basic, a twist on Faust. Heaven and Hell are at war, and Satan is about to launch his latest campaign against the Pearly Gates. To accomplish this, he intends to let loose his army of warriors on Earth to destroy the human race. While God and the Devil remain in their respective headquarters to watch the battle unfold, each sends a general to the front lines. For the forces of darkness, it's a twisted gnome named Clown (John Leguizamo), and, for the other side, it's the distinguished knight Cogliostro (Nicol Williamson).
As outlandish as this background may sound, it wouldn't be that hard to accept if it fueled a strong story. Unfortunately, SPAWN's plot isn't especially interesting or engrossing. The film, helmed by first- time director and former ILM veteran Mark Dippe, gets bogged down by digital effects, many of which appear a little too artificial. These are the kinds of shots that look great on a computer screen, but aren't nearly as impressive in a movie theater (compare them to the fine work at the beginning of CONTACT). In the end, a great deal more effort seems to have been put into the look of the film than into the story.
Al Simmons (Michael Jai White) is a paid assassin, but when he begins to question his role in the corrupt business run by mogul Jason Wynn (Martin Sheen), his boss orders him killed. Five years later, Al returns to Earth, literally a changed man, having made a deal with the Devil. In exchange for an opportunity to once again gaze upon his beloved wife, Wanda (Theresa Randle), Al has agreed to become a creature named Spawn, and lead Hell's Army in the upcoming war. But, before Spawn can begin his appointed task, Cogliostro finds him and stirs up the good that lies locked within his armor-encased body. From that point on, SPAWN becomes as much about the war for control of Al's soul as about the external battle between good and evil.
As disappointing as SPAWN will be to anyone expecting a strong story, there are a few things to like about the film. First and foremost, the kinetic style disallows the possibility of boredom. Then there's John Leguizamo's delightfully off the wall rendering of the wisecracking Clown, who looks and acts like a cross between Jim Carrey's Riddler and Jabba the Hut. On the acting front, however, Leguizamo is the only standout. Michael Jai White's performance as the lead character is hampered by his mask, makeup, and costume. Martin Sheen, Theresa Randle, and D.B. Sweeney (as Al's best friend) are merely adequate in stock roles.
SPAWN's chief attraction is the moral ambiguity of the main character (the spawn of Hell fighting for humanity against the minions of his former master), which, according to New Line Cinema, lends Shakespearean overtones to the film (yeah, right). What the studio fails to recognize, however, is that this sort of "dark hero" approach is nothing new. DARKMAN and THE CROW have already explored it in some detail, while movies like BATMAN and THE SHADOW have embraced certain aspects of it . In fact, an analysis of SPAWN reveals that this production is basically an amalgamation of scenes, setups, characters, and situations from other, often better motion pictures. Essentially, SPAWN does for comic books what STARGATE did for science fiction: it borrows liberally (or steals, depending on your perspective). What works on the printed page does not necessarily translate well to the screen. As a comic book, SPAWN may be first rate, but, as a movie, it's a retread.
Copyright 1997 James Berardinelli
- James Berardinelli e-mail: berardin@mail.cybernex.net ReelViews web site: http://www.cybernex.net/~berardin
"A film is a petrified fountain of thought." - Jean Cocteau
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