Erol (Hüseyin Zan) gets badly beaten up by the men of nightclub owner
and mobster Enzo after delivering a message from masked superhero The
Spider, who promises to kill Enzo. After Enzo's men drop Erol in the
streets, he runs into the car of nightclub singer (and one of Enzo's
faves) Ayfer, who out of guild takes him home and nurses him back to
health. When she learns that most of Erol's bruises were not thanks to the
car accident but thanks to Enzo's men, she confides in him that she wanted
to kill Enzo ever since he had killed her brother ... Eventually, Enzo's
men learn that Ayfer has saved Erol, and his right-hand man Johnny tries
to rape her, but she's saved by the Spider. A female gangster boss,
Yesin, learns about The Spider, manages to get in touch with him and
offers him a great reward if he sides with her. He pretends to join forces
with her, but only to get info on Enzo's motives out of her - it's all
about a Buddha statue and millions in jewels. Ultimately, it comes to a
showdown between Enzo's and Yesin's men at the secret hiding place of the
statue and jewels - where Yesin is shot by her right hand man and he wants
to get away with the statue and jewels together with Enzo's girlfriend ...
but for some reason, instead of making that getaway, they make love on the
spot for Enzo's men to catch up and ... well, you can imagine the rest.
Enzo of course is clever enought o take Ayfer hostage to keep The Spider
for capturing him as well - but ultimately, The Spider proves too skilled
a knife-thrower for Enzo to evade him hiding behind a woman. And what do
you know, in the end, The Spider is revealed no other than Erol himself,
and of course he gets the woman ... Of course, this film is
exactly what it reads like, a rather blunt superhero movie with little in
terms of depth or narrative finesse, banking on (low budget) spectacle,
action, and a few bare boobs here and there instead. But as far as Turkish
superhero movie go, this one isn't too bad: Some of the fight scenes are
incredibly acrobatic and show inventiveness, the direction manages to go
beyond the purely functional time and again, and some of the performances,
ham as they might be, really fit the genre. By no means an intellectual or
even genre masterpiece, mind you, but ok genre entertainment of the low
budget camp variety. By the way, despite roughly the same logo, The
Spider of this film is not in any way based on Spider-Man.
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