The film’s almost-saving grace is its cinematography. Director of photography Bill Pope has done some interesting things. He goes after a 1940s noir look, and sometimes even succeeds. But Miller is so determined to impress that he can’t leave well-enough alone. He throws in all sorts of stylized curveballs, such as the Spirit’s flashing, CGI red tie; the surreal baby foot, topped with a face, that hops around on the Octopus’s desk, screaming; and incomprehensible references to Nazi Germany—including costumes.

Incomprehensible, in fact, is a good word for the entire film. Its plot is largely incomprehensible. Worse still, because the characters keep coming back to life, there is very little suspense. It’s also incomprehensible that good actors like Jackson and Johansen would be a part of this movie—and incomprehensible that it would see any measure of box office success. Then again, there are probably far more movie-going teenage boys in this country than anyone realizes.


  • Theatrical Trailers & Previews
  • Scenes


  • Drugs/Alcohol:  A few characters drink alcohol and smoke, and several references to drunkenness and alcoholism.
  • Language/Profanity:  Strong profanity and obscenity throughout.
  • Sex/Nudity:  Characters talk about “skirt-chasing” and main character, who is involved with many different women, continually ogles and charms women, even strangers.
  • Violence:   Strong and graphic violence throughout, including shooting, stabling and pistol-whipping, among others, as well as numerous scenes with blood.  Characters die then come back to life, seemingly without reason.