It’s looking to be a good year for fans of comic book films. Upcoming months will see Academy Award nominated director Ang Lee’s take on the four-color retelling of Jekyll and Hyde The Hulk, Bryan Singer’s next installment of the civil-rights parable The X-Men and Sean Connery leading a group of Victorian literature adventurers in The League Of Extraordinary Gentlemen. And kicking off the parade of superheroes is Ben Affleck as the blind superhero Daredevil.

Blinded as youth by some biohazardous waste, lawyer Matt Murdock fights for justice in a courtroom by day and as the red leather clad Daredevil by night. Acquiring extra-heightened senses in his accident, Murdock now “sees” with a kind of “radar sense”. He is convinced that there is one person controlling all the crime activity in New York, but can’t seem to find out who it is. Into this already complicated life comes Elektra Natchios (Jennifer Garner), the daughter of one of Kingpin’s associates. When Elektra’s father tries to retire from his life of crime, Kingpin (Michael Clark Duncan) sends for the assassin Bullseye. Daredevil tries to stop Bullseye, but fails, leaving Elektra with the impression that Daredevil was responsible for her father’s death.

The cast does remarkably well with the material they are given. Affleck plays Murdock as man whose affable demeanor hides a burning anger over the murder of his father. Colin Farrell does much with the underwritten role of the assassin Bullseye, giving just the right amount of psychotic desperation as his confidence in his own abilities gets shaken during his final showdown with Daredevil.

If there’s any fault to find in this movie, it lies in the script. The first half of the movie seems oddly paced, with some scenes feeling like shorthand for ideas that should have played over a few scenes. There are themes of love, revenge and redemption running through this story that are almost operatic in power, but the film clocks in barely over 100 minutes. With this past summer’s Spider-Man running a solid two hours, the filmmakers could have opened up the film a little more and allowed these themes to breath more.

What’s maddening about the film is that while it takes its premise seriously and explores some aspects of Matt Murdock’s world intelligently, other things are left untouched. We’re shown Murdock sleeping in a sensory-deprivation tank, presumably because his heightened senses wouldn’t allow him to get a decent night’s sleep with all the distractions. But how are we supposed to believe that Murdock is able to afford being a superhero when he and partner “Foggy” Nelson (Jon Favreau) can’t seem to get their clients to pay their bills. While it probably doesn’t take a Bruce Wayne-sized bankroll to keep things running, secret rooms, spare costumes and funky clubs don’t come cheap.

Comics fans will have fun as several writers and artists who have worked on the comic get name-dropped through the movie. Writer/director Kevin Smith, who wrote a critically well-received story arc for the comic, appears as a morgue attendant. Of course, as the co-creator of many of Marvel Comics’ signature characters, Stan Lee has his customary cameo.

If Daredevil had been released just a few years earlier, it would have been considered a great comic book movie. Recent releases like Spider-Man and Road To Perdition have really raised the bar for adaptations of comics to film. But even now Daredevil is still a pretty good film and given some of the absolute cinematic disasters that comic book fans have had to sit through (I’m looking at you Steel and Batman And Robin) that’s not a bad thing.

When director Terry Gilliam invited documentarians Keith Fulton and Louis Pepe to chronicle in the making of the science-fiction thriller Twelve Monkeys, he said that “if anything should go wrong, at least I’ll have witnesses.” It’s fortunate then, that based on the strength of their final product, The Hamster Factor And Other Tales of Twelve Monkeys, Gilliam invited the pair back to chronicle the filming of his latest project The Man Who Killed Don Quixote as no one would believe the incredible string of bad luck he and his crew were about to experience.

The resultant documentary, Lost In LaMancha, details the battle that most film productions got through to make a movie. Unfortunately, for Gilliam and his crew, it was a battle that they couldn’t win. Limited by a budget that barely met the production’s requirements, Gilliam struggles to realize a film project that he had been developing for a decade. But a series of disasters including a flash flood and the failing health of Gilliam’s Quixote, French actor Jean Rochefort, force the production to shut down after just six days.

Gilliam has an unjustified reputation in Hollywood as a visionary infant terrible. His fight with Universal Studios chief Sid Shienberg over the release of his film Brazil is legendary. (And has been chronicled in Jack Matthews’ book The Battle of Brazil.) His 1988 film The Adventures of Baron Munchausen went spectacularly over budget, though most of the blame could really be laid at the feet of the producer rather than Gilliam. In fact, the specter of Munchausen’s production hangs over Gilliam throughout the film, even though since then he had helmed the hits The Fisher King and Twelve Monkeys. It seems that sometimes, you aren’t even as good as your most recent hit.

In a way, Lost In La Mancha is a love story. Gilliam’s love for his craft is evident in his eyes as he works through pre-production watching the costumes and set pieces come into being. And you can also see the frustration and heartache as things fall apart just weeks later. This film is heartbreaking for Gilliam fans as well. The glimpses of costumes, set designs and especially those few moments of completed film hint at a film that could have been truly spectacular.

The parallels between Quixote and Gilliam are readily apparent and thankfully the filmmakers don’t belabor the point. It’s been said that while filming a movie Gilliam begins to take on aspects of his protagonist, and its easy to see that in the face of mounting disaster Gilliam is almost dementedly determined to continue forward, ignoring the reality of the situation around him.

Of course, the film does raise the question of whether or not there really is a curse that hangs over any attempt to adapt the novel. Orson Welles struggled for 20 years to unsuccessfully complete his version of the project. Maybe Cervantes really did curse future generations when he wrote at the end of the book’s second volume “For me alone was Don Quixote born, and I for him; he to act and I to record; in a word, we were destined for each other” and wasn’t just taking a swipe at another author who had quickly published a sequel before Cervantes had time to finish his own.

In this day and age, “Making Of” documentaries are almost a de rigeur part of a film’s marketing, showing happy actors and confident directors having barrels of fun on set while in the incidental business of making a movie. Rarely is the real struggle and toil that is the actually film production experience shown. Up until now, the most revealing look at film production has been Hearts of Darkness, which chronicles Frances Ford Coppolla’s own journey through despair while shooting Apocalypse Now. Unfortunately, Lost In La Mancha doesn’t have any kind of triumph-over-tragedy, “Great-film-produced-over-unbelievable-odds” finish. Instead, it will serve as a document for a project that seems destined to join Welles’s version of Quixote and Marilyn Monroe’s Something’s Got To Give in the cinema of great films that never were.