Subject: Review: Spawn (1997)

From: James Berardinelli <[email-masked]>
Date: 1 Aug 1997 16:30:54 GMT

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: [email-masked]
ReelViews web site: http://www.cybernex.net/~berardin 

"A film is a petrified fountain of thought."
- Jean Cocteau