Johnny Blaze, a man who made a deal with the Devil who called himself Mephistopheles at the time (now Roarke), is on the run trying to make sure no-one is harmed by his alter ego, The Ghost Rider. He is approached by a M...
Johnny Blaze, a man who made a deal with the Devil who called himself Mephistopheles at the time (now Roarke), is on the run trying to make sure no-one is harmed by his alter ego, The Ghost Rider. He is approached by a M...
The film's central conflict revolves around a supernatural battle between good and evil, with an individual hero fighting to protect an innocent child from a demonic entity. This focus on apolitical, universal themes of heroism and redemption prevents it from aligning with any specific political ideology.
The film features visible diversity in its supporting cast, notably with a prominent Black actor in a key role, but maintains traditional casting for its main protagonist and antagonist. The narrative primarily focuses on a supernatural action plot, without explicitly critiquing traditional identities or centering on DEI themes.
The film "Ghost Rider: Spirit of Vengeance" does not feature any identifiable LGBTQ+ characters or themes. The narrative focuses entirely on its supernatural action plot without incorporating elements related to queer identity, resulting in no depiction to evaluate.
The film does not feature any female characters engaging in or winning close-quarters physical combat against male opponents. Nadia, the primary female character, uses a firearm in one instance but does not participate in hand-to-hand or melee weapon fights.
The film features Johnny Blaze/Ghost Rider, who remains male as in the source material. Other significant characters are original to this installment or maintain their established gender from previous iterations. No canonical characters undergo a gender change.
The film features established characters like Johnny Blaze, who remains consistently portrayed by a white actor, aligning with his comic book origins. Other significant characters introduced in this installment do not have prior canonical racial baselines that were altered.
Combines user and critic ratings from four sources