1,842 reviews
A film that explores the dark and miserable town, Basin City, and tells the story of three different people, all caught up in violent corruption.
Although the use of digital filming and CGI is very contentious, Robert Rodriguez found a way to make it work to his advantage in a way that may not have been possible with traditional film. The way the black and white brings the noir to life, blending smoothly with the rare other colors... it is the only way to bring a comic book to life. (A similar style is in "The Spirit", which does not get nearly the respect it deserves.)
This casting is incredible, as it is varied and really brought the best performances out of Alexis Bledel, Rosario Dawson and Jessica Alba that their careers ever had. Mickey Rourke was re-invented, and this may have been one of the last great Bruce Willis roles. Such a powerful film.
Although the use of digital filming and CGI is very contentious, Robert Rodriguez found a way to make it work to his advantage in a way that may not have been possible with traditional film. The way the black and white brings the noir to life, blending smoothly with the rare other colors... it is the only way to bring a comic book to life. (A similar style is in "The Spirit", which does not get nearly the respect it deserves.)
This casting is incredible, as it is varied and really brought the best performances out of Alexis Bledel, Rosario Dawson and Jessica Alba that their careers ever had. Mickey Rourke was re-invented, and this may have been one of the last great Bruce Willis roles. Such a powerful film.
I watched the 'Unrated, Recut and Extended' version of the movie, which is pretty different from the theatrical version of the film (which I've also watched). It's really a 'superhero movie' like those DC/Marvel movies in disguise... these people have super powers, but it isn't explicitly stated. The movie was also breathed-upon by Quentin Tarantino and it totally shows... this is a very 'Quentin Tarantino-esque' movie. It's filled with action, though there's a good amount of drama and story/plot mixed in so that you don't get numb to the bombardment of constant action. Each of the characters are heavily unique yet extremely stereotypically portrayed (for good reason). Overall it's a good film and eventhough this type of movie will only appeal to a small percentage of general audiences, I would recommend that you watch it at least once if you're not certain, as it is really a pretty good movie, especially given the unique artistic choice with the dark art style.
In Sin City nobody is innocent, not even the Bishop, and they are going to pay for that.
The movie is based, both the story and aesthetics, in the noir comic by Frank Miller, who is also co-director of the film,together with Robert Rodriguez; Quentin Tarantino was invited to direct one of the scenes. The movie intertwines four different stories, whose characters will cross paths at certain point: The Customer Is Always Right, The Hard Goodbye, The Big Fat Kill, and That Yellow Bastard The movie is visually stunning and stylish. It looks and feels like a real noir comic, with camera framing and positioning typical of comic vignettes, as well as the use of high contrast B&W and chiaroscuro. The movie has wonderful black, white and sepia tones with cutout reds and bright colors, a technique widely used in Photography and drawing, but never used in movies before. The movie was completely shot using green backgrounds.
The movie is heart-attack paced, with no a moment of dullness or rest. However, is not for the heart faint, as it is extremely violent and gory, very hard to watch sometimes. The fact that those being punished deserve it, does not make the violence easier to swallow.
The characters are never dull, very human - never good or bad, but both things. Moreover, they are at very melancholic types, funny and merciless.
The movie delights the viewer with terrific performances by a large group of A-listed actors. However, Mickey Rourke, Bruce Willis, Benicio Del Toro, Clive Owen and Rosario Dawson really shine through. Jessica Alba and Elija Wood, who are usually a bore, are terrific in their respective roles, too.
The best comic adaptation I have ever seen.
Entertainment and quality together. Brilliant
The movie is based, both the story and aesthetics, in the noir comic by Frank Miller, who is also co-director of the film,together with Robert Rodriguez; Quentin Tarantino was invited to direct one of the scenes. The movie intertwines four different stories, whose characters will cross paths at certain point: The Customer Is Always Right, The Hard Goodbye, The Big Fat Kill, and That Yellow Bastard The movie is visually stunning and stylish. It looks and feels like a real noir comic, with camera framing and positioning typical of comic vignettes, as well as the use of high contrast B&W and chiaroscuro. The movie has wonderful black, white and sepia tones with cutout reds and bright colors, a technique widely used in Photography and drawing, but never used in movies before. The movie was completely shot using green backgrounds.
The movie is heart-attack paced, with no a moment of dullness or rest. However, is not for the heart faint, as it is extremely violent and gory, very hard to watch sometimes. The fact that those being punished deserve it, does not make the violence easier to swallow.
The characters are never dull, very human - never good or bad, but both things. Moreover, they are at very melancholic types, funny and merciless.
The movie delights the viewer with terrific performances by a large group of A-listed actors. However, Mickey Rourke, Bruce Willis, Benicio Del Toro, Clive Owen and Rosario Dawson really shine through. Jessica Alba and Elija Wood, who are usually a bore, are terrific in their respective roles, too.
The best comic adaptation I have ever seen.
Entertainment and quality together. Brilliant
With Hellboy, Guillermo Del Toro lovingly recreated panels from artist/creator Mike Mignola's comic book stories and brought them to vibrant life, setting a new benchmark for adaptations that respect their source material. With Sin City, however, co-directors Robert Rodriguez and Frank Miller have done more than just recreate the brutal chiaroscuro of Miller's stark post-modern noir artwork, they've captured the essence and the aesthetic of Basin City (as much a character as Marv or Hartigan) and brought its universe and characters to a stunning three-dimensional life. And unlike Hellboy, which suffered from a weak, confusing script, Sin City weaves a Pulp Fiction-esque narrative which snakes through the dark streets and crooked alleyways of this hellish metropolis like a fever dream.
In short, Sin City delivers a blistering ballet of bullets and blood, dames and danger at every turn. It's a kinetic masterpiece of pop culture for the new millennium (and a case could be made that this was the movie that CGI was invented for).
As a Frank Miller fan for over 25 years, I know his work and I know Sin City and this Sin City will knock your socks off whether you are a fan or a newcomer to the dark delights of his devilish imagination and brutal style. Exceeding my expectations on all levels, this movie ranks as one of the most enjoyable cinema-going experiences I've had in years.
Everything works here. From Rodriguez's cinematography and editing, to the seamless direction (no mean feat when you consider Robert co-directed with Miller and Quentin Tarantino joined the mix as "Special Guest Director"), to the spot-on casting. The script gives Bruce Willis, Mickey Rourke, Clive Owen and Benicio Del Toro plenty of opportunity to chew the scenery and they do, especially Rourke, who, despite having his mug buried under a thick layer of gruesome latex, delivers one of the best performances of his career and steals the show as Marv, the giant thug with a broken heart. The ladies hold their own, too. Jessica Alba, Rosario Dawson, Brittany Murphy and Jaime King are all great in their roles, particularly Dawson as machine gun-wielding Dominatrix/Hooker-Godmother Gail. And kudos to Elijah Wood (proving there is life after Hobbits) and Nick Stahl who deliver contrasting performances as vile villains, the ultra-creepy Kevin and the disgusting Yellow bastard, respectively.
Sin City is smart, stylish, sexy and sick. It's also violent and funny. Certainly not a film for the whole family, but for those of us who enjoy our movies rated R, this flick kicks the head and the gut like a mule.
Here's hoping Sin City makes a mint, for there are 10,000 stories in the naked (sinful) city, and this is but a handful of them. I'm already praying for a sequel.
A picture perfect "ten" for this cineast.
In short, Sin City delivers a blistering ballet of bullets and blood, dames and danger at every turn. It's a kinetic masterpiece of pop culture for the new millennium (and a case could be made that this was the movie that CGI was invented for).
As a Frank Miller fan for over 25 years, I know his work and I know Sin City and this Sin City will knock your socks off whether you are a fan or a newcomer to the dark delights of his devilish imagination and brutal style. Exceeding my expectations on all levels, this movie ranks as one of the most enjoyable cinema-going experiences I've had in years.
Everything works here. From Rodriguez's cinematography and editing, to the seamless direction (no mean feat when you consider Robert co-directed with Miller and Quentin Tarantino joined the mix as "Special Guest Director"), to the spot-on casting. The script gives Bruce Willis, Mickey Rourke, Clive Owen and Benicio Del Toro plenty of opportunity to chew the scenery and they do, especially Rourke, who, despite having his mug buried under a thick layer of gruesome latex, delivers one of the best performances of his career and steals the show as Marv, the giant thug with a broken heart. The ladies hold their own, too. Jessica Alba, Rosario Dawson, Brittany Murphy and Jaime King are all great in their roles, particularly Dawson as machine gun-wielding Dominatrix/Hooker-Godmother Gail. And kudos to Elijah Wood (proving there is life after Hobbits) and Nick Stahl who deliver contrasting performances as vile villains, the ultra-creepy Kevin and the disgusting Yellow bastard, respectively.
Sin City is smart, stylish, sexy and sick. It's also violent and funny. Certainly not a film for the whole family, but for those of us who enjoy our movies rated R, this flick kicks the head and the gut like a mule.
Here's hoping Sin City makes a mint, for there are 10,000 stories in the naked (sinful) city, and this is but a handful of them. I'm already praying for a sequel.
A picture perfect "ten" for this cineast.
- zardoz74_2000
- Mar 17, 2005
- Permalink
Based on the graphic novels by Frank Miller (who also co-directed and wrote the screenplay) Sin City tells three stories of crime, corruption, and redemption set in the fictional town 'Basin City'. The first story details the quest of Marv (Mickey Rourke) who searches town for the man who murdered Goldie (Jamie King), the woman he believes to be his one true love. The second tells of Dwight (Clive Owen) who must cover up the death of a corrupt police officer (Benicio Del Toro) in order to avoid a war between the cops, and the girls of old town, led by Gail. (Rosiaro Dawson) The final story shows Hartigan, (Bruce Willis) a beat up retired cop framed for a crime he didn't commit, trying to save the life of a girl whose life he saved at a young age, who grew up to become a stripper, (Jessica Alba) while all the while being tracked by a mysterious stranger with a grotesque appearance. (Nick Stahl)
It's a churning vat of old fashioned pulp style stories, each one more dark and edgy then the last. And yet, Sin City itself is morbidly fascinating; if you don't mind delving through the haze of sleaze, violence and corruption you'll find a really compelling story underneath the hard exterior. Sin City exudes the essence of classic film noir, except combined with over-the-top violence, characters and dialogue to maintain that comic book feel. Giving co-director status to creator Frank Miller and allowing him to write the screenplay was perhaps the wisest move director Robert Rodriguez ever made, because Miller's gritty influence shines through, perfectly capturing the mood of his original creations.
And the visuals... extraordinary. The entire film is shot in black and white, except for certain items which appear in colour. (a red dress, red blood, although sometimes the blood is stark white, and not to mention Nick Stahl's character, Yellow Bastard, who is, indeed, yellow) Rodriguez is also smart enough to use a greenscreen backdrop, so as to recreate Miller's gritty, moody sets by computer animation instead of trying to create them first hand. And it works, wonderfully - the sets perfectly set the tone for the rest of the movie: dark, bold, over-the-top and quality work unlike any other. Add the characters' noirish costumes (almost every male character sports, as Marv puts it, a "damn fine coat") unique appearances, (it says a lot for the quality of the movie when a character like Yellow Bastard doesn't seem out of place) and movement (take note that if the movie was paused at any given point, the frame would look like a panel from a comic book) and Miller and Rodriguez perfectly nail the comic book feel.
It also helps that a wonderful cast has been assembled to bring life to the mayhem. Spot on performances abroad here, but the standouts in my opinion were Elijah Wood, who was truly chilling as Kevin, the silent, cannibalistic serial killer; Nick Stahl as Roarke Junior/Yellow Bastard, a truly creepy and disgusting character; Clive Owen, playing against type as Dwight; (who isn't exactly a sophisticated, British gentleman, but then again, no one in this film is) Mickey Rourke as Marv, managing to turn out a stunning performance, even with his face buried under several layers of latex; Benicio Del Toro almost unrecognizable as corrupt cop Jackie Boy and a welcome appearance from Michael Clarke Duncan as Manute, an enforcer specializing in inflicting pain. The hard edged ladies also do a great job, with Jessica Alba, Rosiaro Dawson, Carla Gugino, Jamie King and the rest all giving great performances.
It's all in the style of such films as Pulp Fiction and Kill Bill, so it may be wise to use those films as guidelines of what to expect in terms of content. It's true that Sin City is not for everyone: the violence is brutal and unflinching, most characters are disreputable, manipulative and sleazy, and the whole feel of the film is undesirable, and not too cheery. But if none of that deters you, Sin City should be known as a must see, for the superb visual stylistics if nothing else. But the style and feel of the comic books is perfectly captured and thrust into our faces. Frank Miller must be proud.
-10/10
It's a churning vat of old fashioned pulp style stories, each one more dark and edgy then the last. And yet, Sin City itself is morbidly fascinating; if you don't mind delving through the haze of sleaze, violence and corruption you'll find a really compelling story underneath the hard exterior. Sin City exudes the essence of classic film noir, except combined with over-the-top violence, characters and dialogue to maintain that comic book feel. Giving co-director status to creator Frank Miller and allowing him to write the screenplay was perhaps the wisest move director Robert Rodriguez ever made, because Miller's gritty influence shines through, perfectly capturing the mood of his original creations.
And the visuals... extraordinary. The entire film is shot in black and white, except for certain items which appear in colour. (a red dress, red blood, although sometimes the blood is stark white, and not to mention Nick Stahl's character, Yellow Bastard, who is, indeed, yellow) Rodriguez is also smart enough to use a greenscreen backdrop, so as to recreate Miller's gritty, moody sets by computer animation instead of trying to create them first hand. And it works, wonderfully - the sets perfectly set the tone for the rest of the movie: dark, bold, over-the-top and quality work unlike any other. Add the characters' noirish costumes (almost every male character sports, as Marv puts it, a "damn fine coat") unique appearances, (it says a lot for the quality of the movie when a character like Yellow Bastard doesn't seem out of place) and movement (take note that if the movie was paused at any given point, the frame would look like a panel from a comic book) and Miller and Rodriguez perfectly nail the comic book feel.
It also helps that a wonderful cast has been assembled to bring life to the mayhem. Spot on performances abroad here, but the standouts in my opinion were Elijah Wood, who was truly chilling as Kevin, the silent, cannibalistic serial killer; Nick Stahl as Roarke Junior/Yellow Bastard, a truly creepy and disgusting character; Clive Owen, playing against type as Dwight; (who isn't exactly a sophisticated, British gentleman, but then again, no one in this film is) Mickey Rourke as Marv, managing to turn out a stunning performance, even with his face buried under several layers of latex; Benicio Del Toro almost unrecognizable as corrupt cop Jackie Boy and a welcome appearance from Michael Clarke Duncan as Manute, an enforcer specializing in inflicting pain. The hard edged ladies also do a great job, with Jessica Alba, Rosiaro Dawson, Carla Gugino, Jamie King and the rest all giving great performances.
It's all in the style of such films as Pulp Fiction and Kill Bill, so it may be wise to use those films as guidelines of what to expect in terms of content. It's true that Sin City is not for everyone: the violence is brutal and unflinching, most characters are disreputable, manipulative and sleazy, and the whole feel of the film is undesirable, and not too cheery. But if none of that deters you, Sin City should be known as a must see, for the superb visual stylistics if nothing else. But the style and feel of the comic books is perfectly captured and thrust into our faces. Frank Miller must be proud.
-10/10
- SteakTheCow
- Mar 16, 2005
- Permalink
I caught the Philly sneak preview of "Sin City" yesterday, and I have to say my hat is off. Few comic book movies have ever looked good on screen. The X-Men and Spider Man movies have done a good job breaking that stigma. In my opinion the aforementioned flicks have been a perfect melding of Hollywood and the Comic book universe, but "Sin City" elevates it to an art form, literally. It is hands down, the best representation of a comic book turned film ever. After catching the trailer on a TV commercial, I was intrigued, to say the least. So I went to my local comic book store and bought the Frank Miller books the movie is based on, and enjoyed them for their off beat humor, incredible violence, and stories of love, lust, friendship, honor and seedily-earned redemption in the underworld of fictional Basin City. Upon further contact with the Comic Book store owner, he clued me in to the sneak preview on the 16th of March (yesterday as I post this), so like a kid on his way to pick up the latest issues of whatever comics are popular these days, I took the day off and went to the showing. Having recently read the stories that are included in the film ("Sin City," later renamed to "The Hard Goodbye"; "The Big Fat Kill;" and "That Yellow Bastard"), I was amazed at how much of the dialogue and narration of the books actually made it to the big screen translation. This coming from a guy whose heart was ripped out by the bastardization of "The Sum of All Fears," bear in mind - I know what it's like to have a book you love not be given the loving attention we feel it deserves when it hits the big screen. The dialogue isn't always the best (it's a comic book, not Shakespeare, people) and even the best acting in the world won't change that. But seriously, if you're paying attention to that minor blemish, you're missing the point of the movie to begin with. Aside from the dialogue, the imagery in the film is something to be appreciated, whether you like the stories or not. Equally beautiful and gritty black and white, with occasional brushes of color that all but explode off the screen- the comic books (graphic novels to you purists) act like storyboards for this movie- as life is breathed into the still images on the pages. The "From Book to Screen" section that is no doubt going to be a feature on the future DVD release of this movie will no doubt drop a few jaws for those that haven't bothered to check out the source material. Cold, cruel humor and over-the-top, audience-wince-inducing violence are blended in the style of "Pulp Fiction" and "From Dusk 'Till Dawn" for obvious reasons, but as I stated before, it's all direct from the books. Kudos to Robert Rodriguez for not compromising in the making of this film and for his commitment to the original source material; and also to his co-director Frank Miller for his obvious contributions. And to the actors in it- the cavalcade of them. My favorite performance was turned in by Mickey Rourke for playing Marv absolutely letter perfect from the book (and he demonstrates one of the best narrative voices I've heard in a movie since Morgan Freeman in "The Shawshank Redemption"). Elijah Wood has a non-speaking role, but his Kevin will follow you home as much as Nick Stahl's Junior does. Clive Owen is solid as Dwight (and I know a lot of geek fan-boys out there were upset that he was picked for the character) and Bruce Willis does what he does best as a cop that won't quit, Hartigan. The standout female performance is a toss up between either Rosario Dawson for her valkyrie, warrior, hooker Gail, or (it kills me to say it) Brittany Murphy as a "His Girl Friday" cocktail waitress. The movie is definitely not for all tastes, and kids shouldn't be allowed in buildings even next to theaters showing this movie- but it will no doubt be a hotly discussed film as we creep through Hollywood's typically "phoned-in, pre-Summer" Feb/March/April offerings.
I'll put my bottom line at the top so you can decide whether to read on. I can't recommend this film to the average cinema-goer. Instead, I will recommend it to those who are fans of Frank Miller, film noir, Robert Rodrigues, and to a lesser extent Quentin Tarantino. This is also not a film for feminists. Others should read on and decide if this is something they want to see.
The fact that Frank Miller was listed with Robert Rodriquez as co-director of this film, and the cleverly ambiguous film noir trailer hooked me. So, the spouse and I went to see it shortly after release, expecting exactly what we got - a very cleverly and interestingly shot film noir version of several Frank Miller stories taking place in Basin City, the locus of Miller's graphic novels of the same name as the film.
Quentin Tarantino guest directs one of the segments. I'm not sure which - Rodrigues' style is as often violent, but a bit more comic. Based on some of the ridiculous violence of the film, I think it likely that QT had some influence on the other segments as well. My only objection to this film is really the quantity of absurd and frankly grotesque violence scenes. Though the violence is true to Miller's work, seeing it as a process creates a very different effect than Miller's art. Fortunately, Rodrigues' sense of humor also prevails in most of the most violent scenes. The use of colorization emphasizes the film's bloodiness through the only colors used in the film - red, ultra-white and yellow - comic exaggeration and a wonderfully eerie noir feel.
Predictably, this is a very dark film, and quite a bit more disturbing than the average commercial stuff.
What the spouse and I didn't expect was pleasantly surprising - one of the most artistically well done interpretations of the comic medium I have yet seen (and I have seen them all) and stand-out performances by Del Toro, Mickey Rourke and Willis. I expect nothing less from Del Toro, but I have to admit Rourke just blew me away as Miller's phenomenally ugly and invincible tough guy - Marv - who decides, for once, to do something good with his life. Rourke's character is played with such empathy that you won't want his segments to end - you will want him to become the final hero of the film. I was less enchanted with Clive Owen's portrayal of Dwight. Though this segment was good entertainment, I thought Owen could have given a more emotive performance. Elijah Wood was exceptionally creepy and well cast in his very brief role.
All of the heroic male characters (and this film is VERY much filmed from a stereotype film noir male point of view) have one common characteristic - they are all very tough critters fighting against all odds against endemic corruption, murder and injustice, but not at all afraid to indulge in it to further their own ends. The vignettes are loosely but satisfactorily connected. But the plots are less important than the way the film FEELS. The film mixes hopelessness with fearlessness and fatalism to the extent that you'll feel like an honorable death ending a brief life is far more appealing than a lengthy life devoid of self-respect. It's a really well done homage to Comic Book as an art form, and the film noir motif. Whoever thought of putting Rodriguez and Miller together on this one deserves a nod from fans of both genres.
The fact that Frank Miller was listed with Robert Rodriquez as co-director of this film, and the cleverly ambiguous film noir trailer hooked me. So, the spouse and I went to see it shortly after release, expecting exactly what we got - a very cleverly and interestingly shot film noir version of several Frank Miller stories taking place in Basin City, the locus of Miller's graphic novels of the same name as the film.
Quentin Tarantino guest directs one of the segments. I'm not sure which - Rodrigues' style is as often violent, but a bit more comic. Based on some of the ridiculous violence of the film, I think it likely that QT had some influence on the other segments as well. My only objection to this film is really the quantity of absurd and frankly grotesque violence scenes. Though the violence is true to Miller's work, seeing it as a process creates a very different effect than Miller's art. Fortunately, Rodrigues' sense of humor also prevails in most of the most violent scenes. The use of colorization emphasizes the film's bloodiness through the only colors used in the film - red, ultra-white and yellow - comic exaggeration and a wonderfully eerie noir feel.
Predictably, this is a very dark film, and quite a bit more disturbing than the average commercial stuff.
What the spouse and I didn't expect was pleasantly surprising - one of the most artistically well done interpretations of the comic medium I have yet seen (and I have seen them all) and stand-out performances by Del Toro, Mickey Rourke and Willis. I expect nothing less from Del Toro, but I have to admit Rourke just blew me away as Miller's phenomenally ugly and invincible tough guy - Marv - who decides, for once, to do something good with his life. Rourke's character is played with such empathy that you won't want his segments to end - you will want him to become the final hero of the film. I was less enchanted with Clive Owen's portrayal of Dwight. Though this segment was good entertainment, I thought Owen could have given a more emotive performance. Elijah Wood was exceptionally creepy and well cast in his very brief role.
All of the heroic male characters (and this film is VERY much filmed from a stereotype film noir male point of view) have one common characteristic - they are all very tough critters fighting against all odds against endemic corruption, murder and injustice, but not at all afraid to indulge in it to further their own ends. The vignettes are loosely but satisfactorily connected. But the plots are less important than the way the film FEELS. The film mixes hopelessness with fearlessness and fatalism to the extent that you'll feel like an honorable death ending a brief life is far more appealing than a lengthy life devoid of self-respect. It's a really well done homage to Comic Book as an art form, and the film noir motif. Whoever thought of putting Rodriguez and Miller together on this one deserves a nod from fans of both genres.
Channel surfing late one night I stumbled across this film and stopped to look because of the unusual cinematography. It's visually stunning, mostly in b&w and that evokes a film noir atmosphere punctuated with those brilliant flashes of color. Two minutes later I couldn't take my eyes away. This unique film is superbly executed, the casting, the screenplay, the special effects, everything about it. As we all know, there is an expansive library of film work out there for a wide range of tastes and sensibilities. If yours are delicate, if you are offended by gore and violence, then this film will NOT be your cup of tea. Stay away from it. But if both the horror and film noir genres appeal to you, you'll probably find this movie as captivating as I did.
A feast for the eyes but not the senses, well maybe one. That in itself is not a bad thing unless you go to the movies for entirely different reasons you go to a theme park and take a ride. I admired what computers can do in the hands of visual artists. Some of the images where out of a Gustav Dorè of the future, I mean the present. A Dorè with sudden bursts of red the reddest red you've ever seen. I must confess I was very unfamiliar with the comic "Sin City" is based on. A male fantasy of the first order. Blood, guts, huge guns and fabulous babes. The almost adolescent Jessica Alba throws herself in the arms of Bruce Willis, promising eternal love. Willis, by the way, is terrific so is Clive Owen. My God what a face! A heroic movie icon for the ages. Mickey Rourke picks up where he left off, deformed, full of blood and moving, very moving in a chilling kind of way. I didn't recognize Benicio del Toro until it was too late. Rosario Dawson, Brittany Murphy and the afore mentioned Jessica Alba are nothing short of spectacular. To boot Josh Harnett appears as beautifully creepy bookends. And yet, I was left with a sense of frustration. I was in the mood for a movie and found myself in a theme park ride. But if you're in the mood for that, I recommend it.
- arichmondfwc
- Jun 5, 2005
- Permalink
I must admit that I know, or knew rather, very little about the story or history of Frank Miller and his series of comic book novels - and maybe that is why I enjoyed this movie so much. Although, this is still a different type of situation where one who was a big fan of the stories might be seriously critical of every little detail of the comic book turned movie. I don't believe anyone who considers themselves truly knowledgeable about Miller's work can say that this was not represented well on the big screen. I'm now intrigued to go back and check out some of his work.
That aside, as far as it being a movie and a work of art, I would give this movie high marks in both categories. For it being a movie, it was nice to see something so different as far as the approach to making it go. Also, having such an incredible cast makes it all the more intriguing. I don't see anyone else having portrayed any of these characters any better than the cast that was hired to do so.
On an artistic level, it is extremely hard to think of any other movie that comes close to being in the same league. I did not see Sky Captain, but I would say that anyone who liked Pleasantville for its cinematography and graphic elements, would love Sin City. The use of black and white photography with only specific colors added later make for a far more dramatic effect. And so much of the cinematography being so close to a "moving picture" version of comic book art simply makes this movie worth seeing.
Take the artistic elements of this movie, and put it together with the amazing cast (both looks and talent) and throw it together with a very different but coherent plot, and you've got yourself an extremely enjoyable movie that is definitely worth seeing. And seeing at the theater no less!
My hats off to Robert Rodriguez, Frank Miller, and the rest of the cast and crew for putting together something different for a change.
My only complaint about the whole movie - the use of labeling Quentin Tarantino as a "Special Guest Director" is almost too lame to deal with.
That aside, as far as it being a movie and a work of art, I would give this movie high marks in both categories. For it being a movie, it was nice to see something so different as far as the approach to making it go. Also, having such an incredible cast makes it all the more intriguing. I don't see anyone else having portrayed any of these characters any better than the cast that was hired to do so.
On an artistic level, it is extremely hard to think of any other movie that comes close to being in the same league. I did not see Sky Captain, but I would say that anyone who liked Pleasantville for its cinematography and graphic elements, would love Sin City. The use of black and white photography with only specific colors added later make for a far more dramatic effect. And so much of the cinematography being so close to a "moving picture" version of comic book art simply makes this movie worth seeing.
Take the artistic elements of this movie, and put it together with the amazing cast (both looks and talent) and throw it together with a very different but coherent plot, and you've got yourself an extremely enjoyable movie that is definitely worth seeing. And seeing at the theater no less!
My hats off to Robert Rodriguez, Frank Miller, and the rest of the cast and crew for putting together something different for a change.
My only complaint about the whole movie - the use of labeling Quentin Tarantino as a "Special Guest Director" is almost too lame to deal with.
- SunDevil21
- Mar 16, 2005
- Permalink
Sin City is (like Sky Captain and the World of Tomorrow) a visual achievement, and deserves credit for bringing realism to the graphic novel of the same name. It's hard to criticize a movie that does in spades what it sets out to do.
I will say, however, that if you're not a fan of graphic novels, and their predispositions for violence, sexual stereotyping, and grim looks at humanity, then you'd be better off skipping Sin City. With only a few exceptions, every character in the movie is a psychopath, complete with a killing and/or torture fetish and the expected lack of remorse. We are given "good" guys and "bad" guys, but they're hard to tell apart sometimes. And I don't think I've ever seen a movie in which 90% of the female characters are strippers or prostitutes. But of course, this is a depiction of a fictional city, in which there is a lot of sin. Hence the title.
This is an obvious generalization, but this movie will go over really well with guys who like violence and naked women. It will offend just about everyone else. There will be a few who will accept it as a well realized comic book fantasy, but they won't like the aftertaste. 6.5/10
I will say, however, that if you're not a fan of graphic novels, and their predispositions for violence, sexual stereotyping, and grim looks at humanity, then you'd be better off skipping Sin City. With only a few exceptions, every character in the movie is a psychopath, complete with a killing and/or torture fetish and the expected lack of remorse. We are given "good" guys and "bad" guys, but they're hard to tell apart sometimes. And I don't think I've ever seen a movie in which 90% of the female characters are strippers or prostitutes. But of course, this is a depiction of a fictional city, in which there is a lot of sin. Hence the title.
This is an obvious generalization, but this movie will go over really well with guys who like violence and naked women. It will offend just about everyone else. There will be a few who will accept it as a well realized comic book fantasy, but they won't like the aftertaste. 6.5/10
- formicidae
- Mar 31, 2005
- Permalink
- dbborroughs
- Apr 9, 2005
- Permalink
Went to a sneak preview of this movie today, and I was blown away. Over the years people have tried to emulate the feel of comics on the screen, and met with mild success(Dick Tracy), minor failure(Hulk), and solid success(Sky Captain and the World of Tomorrow). This is hard to do, but Sin City hits this dead on. The film is entirely in black and white(Except for about 20 seconds that I noticed in one scene.), except for highlights of color(Gorgeous eyes, splattered blood, and red Converse All-Stars to name a few.). This gives the film a feel that immerses you into the storyline. Add to this the overly corny duologue and scenes where scantily(And I DO mean scantily) clad women pull Uzi's out of literally nowhere, and you have all the right makings for a transfer of a comic book to the screen. The duologue had me laughing almost constantly, but it's easy to tell that they wanted you to laugh, even when they lines were incredibly corny and melodramatic...
The performances in the movie were great as well. I believe my favorite male character was Marv, played by Micky Rourke, and my favorite female character was definitely Miho, played by Devon Aoki. It seems that everyone and their dog was either in this movie, or lent some of their talents to it, and it shows.
I would definitely suggest that you see this in the theatre the very first time, because it will NEVER have the same impact on your TV at home as it does on a 30-foot screen in a dark theatre. I was actually able to note a few times where the digital cameras were able to outperform anything film could do.
A lot of violence in this movie, although most of it is either totally cartoon-style, or off camera, and some gore as well... A good amount of nudity in the film, ALL of it on camera, so you'll probably want to leave the kiddies at home.
All in all, one of the best movies I have seen in a long time, and I'll probably go see it again while it's in the theatres, so that my fiancé can enjoy it as well...
The performances in the movie were great as well. I believe my favorite male character was Marv, played by Micky Rourke, and my favorite female character was definitely Miho, played by Devon Aoki. It seems that everyone and their dog was either in this movie, or lent some of their talents to it, and it shows.
I would definitely suggest that you see this in the theatre the very first time, because it will NEVER have the same impact on your TV at home as it does on a 30-foot screen in a dark theatre. I was actually able to note a few times where the digital cameras were able to outperform anything film could do.
A lot of violence in this movie, although most of it is either totally cartoon-style, or off camera, and some gore as well... A good amount of nudity in the film, ALL of it on camera, so you'll probably want to leave the kiddies at home.
All in all, one of the best movies I have seen in a long time, and I'll probably go see it again while it's in the theatres, so that my fiancé can enjoy it as well...
Visually stunning
Unique presentation
Great pulp stories
Great acting
Captivating atmosphere
Trend setter
Funny, sexy and exciting
A must watch!
Unique presentation
Great pulp stories
Great acting
Captivating atmosphere
Trend setter
Funny, sexy and exciting
A must watch!
- damianphelps
- Sep 18, 2020
- Permalink
I'm only a marginal comics fan - I read a bunch of stuff over the course of a year or two in college and haven't read much at all since. Frank Miller was my favorite writer then and the I always loved the Sin City series. I didn't realize the movie was even being made until I saw the notice for the preview screening (if that's an indication of how much I follow comics these days).
This movie was as perfect an adaptation of those books as I could imagine. The look, cast, atmosphere, everything was just spot on. The stories were all gripping and intertwined with each other nicely and I thought the brief Josh Hartnett spots were great bookends to the movie. I was amazed the entire length of the screening.
If you're into comics at all you'll love this movie. You won't be disappointed. I'm not sure how to recommend it to others but you certainly don't need to be a comics fan to enjoy it. I loved it without reservation.
This movie was as perfect an adaptation of those books as I could imagine. The look, cast, atmosphere, everything was just spot on. The stories were all gripping and intertwined with each other nicely and I thought the brief Josh Hartnett spots were great bookends to the movie. I was amazed the entire length of the screening.
If you're into comics at all you'll love this movie. You won't be disappointed. I'm not sure how to recommend it to others but you certainly don't need to be a comics fan to enjoy it. I loved it without reservation.
- Prostheticwings
- Mar 17, 2005
- Permalink
If I was to use one word to describe this film it would have to be....Violent! if i was allowed two words I would add 'Visceral'. The movie is two hours long and is structured in a similar way to Pulp Fiction. A bunch of stories set in a consistent world, with characters falling in and out of each others plot lines. On the whole it works brilliantly, and for the duration there isn't a boring moment. It is High octane, million miles and hour storytelling, and it EASILY Robert Rodriguez's best film. Allowing Frank Miller to write the script was a fantastic move, as the dialogue is edgy, witty and VERY faithful to the original material. In fact, many many lines are just taken straight from the pages. likewise, the camera behaves like a moving cartoon box out. The framing of all the key scenes is SO faithful to the printed page that it produces a truly original look that is fairly incomparable. Visually its a true original. Sometimes these visuals fall down, there are some very very obvious digital shots that don't quite gel, but on the whole the cinematography is jaw dropping. You could literally pause the movie at almost any point and just hang that frame on a wall, its that beautiful. Performances are good all round. Mickey Rourke absolutely nails Marv, and the girls of Old Town are all as beautiful as they are deadly. The other standout for me was Elijah Wood, who was truly chilling. Bruce Willis puts in a solid, if unspectacular turn as Hartigan. The film isn't entirely void of criticism. there's some fudging of time lines with Hartigans character (do we really buy Bruce Willis as a nearly 70 year old man?) and the jumps from story to story are jarring initially, but once it settles into itself the ride is fantastic. My other main criticism is the same I have with Quentin Tarantinos work. That every character and every voice in the movie is the same. This is more a fault of the source material, but when every single person is a wise cracking, hard boiled tough guy (even the women) then it kind of distills the effect of their toughness. In a film that is predominantly voice over driven, it is hard to differentiate characters when they all sound exactly the same, both tonally, and in the language they use. Even Marv, who's supposed to be a meat head, talks in gravelly prose that would make Bukowski feel like a Nancy. Other Minor niggles are hardly worth mentioning. From a technical standpoint the sound effects are WAY to loud. All of the punches, gunshots etc are given such ridiculous prominence on the track that they threaten to make mockery of the violence. I actually found that i didn't want any more guns fired cos it was hurting my ears! all in all though, its one hell of a ride, and only a couple of notches below Pulp Fiction on the 'Oh my god that film was cool-o-meter'.
- craig.tuohy
- Mar 22, 2005
- Permalink
I went in to "Sin City" with high expectations, and came out a bit disappointed. With all of the hype I had been hearing, I suppose I expected something more.
The movie follows three overlapping stories of men seeking justice in the extremely corrupt city. Along the way they beat up and shoot a lot of people (it is an extremely violent movie, which didn't bother me, but it might bother some people).
I had a few problems with this film: First, I didn't really get how the three stories connected to each other, besides taking place in the same city. There were a few overlapping characters and locations, but they were pretty superficial. Second, the whole movie came off (at least to me) as a two hour exercise in hyper-masculine fantasy. In part this is due to the nearly constant violence in the film, but a lot of it has to do with the role of women. Nearly every female character in the movie is either a hooker or a stripper, and all of them are completely reliant on the male characters for everything - and seem to pay them back with sexual favors. The only women who had any type of independence were the hookers - seemingly sending the message that women only get power through sexuality. And even then, the hookers need one of the main male characters to save them. Third, the dialog seemed awkward in many places. I don't know if it was the way the actors delivered the lines or the way the comic book was adapted to the screen, but in a lot of places it didn't really work. It was supposed to be kind of like old-school film noir dialog, but a lot of it just came off as laughable. Finally (and this is really a minor complaint) there seemed to be an excessive amount of male crotch smashing. Once or twice is understandable, but there must have been at least 10 violent acts (punching, shooting, etc) directed at the male groin throughout the movie. There really wasn't any reason for them (except maybe in one case), and after a while it got kind of weird.
That being said, the movie was visually amazing. Some of the best and most unique cinematography I have ever seen. The music was pretty good too. As for the acting - Bruce Willis and Mickey Rourke were good, and Elijah Wood was downright freaky, but Clive Owen seemed stiff, and Rosario Dawson came of as downright ridiculous in parts. And the story (or stories, really) itself was interesting - I just think that something may not have transitioned properly from the book to the screen.
"Sin City" wasn't bad, but I had some problems with it. I guess it just wasn't my type of movie.
Rating: 6 out of 10
The movie follows three overlapping stories of men seeking justice in the extremely corrupt city. Along the way they beat up and shoot a lot of people (it is an extremely violent movie, which didn't bother me, but it might bother some people).
I had a few problems with this film: First, I didn't really get how the three stories connected to each other, besides taking place in the same city. There were a few overlapping characters and locations, but they were pretty superficial. Second, the whole movie came off (at least to me) as a two hour exercise in hyper-masculine fantasy. In part this is due to the nearly constant violence in the film, but a lot of it has to do with the role of women. Nearly every female character in the movie is either a hooker or a stripper, and all of them are completely reliant on the male characters for everything - and seem to pay them back with sexual favors. The only women who had any type of independence were the hookers - seemingly sending the message that women only get power through sexuality. And even then, the hookers need one of the main male characters to save them. Third, the dialog seemed awkward in many places. I don't know if it was the way the actors delivered the lines or the way the comic book was adapted to the screen, but in a lot of places it didn't really work. It was supposed to be kind of like old-school film noir dialog, but a lot of it just came off as laughable. Finally (and this is really a minor complaint) there seemed to be an excessive amount of male crotch smashing. Once or twice is understandable, but there must have been at least 10 violent acts (punching, shooting, etc) directed at the male groin throughout the movie. There really wasn't any reason for them (except maybe in one case), and after a while it got kind of weird.
That being said, the movie was visually amazing. Some of the best and most unique cinematography I have ever seen. The music was pretty good too. As for the acting - Bruce Willis and Mickey Rourke were good, and Elijah Wood was downright freaky, but Clive Owen seemed stiff, and Rosario Dawson came of as downright ridiculous in parts. And the story (or stories, really) itself was interesting - I just think that something may not have transitioned properly from the book to the screen.
"Sin City" wasn't bad, but I had some problems with it. I guess it just wasn't my type of movie.
Rating: 6 out of 10
"Sin City" is gritty, dirty, sleazy and violent. It's an excellent adaptation of the graphic novels by Frank Miller and even if you haven't read the original material, it's a lot of fun. This anthology film features characters that are memorable and likable (or despicable) so it will grab your attention and hold on tight the whole way. There are a lot of memorable scenes and lines that are sure to stick with you too but the best part of the film is the art direction and visual style. An element I'm glad they kept from the original source is that the stories are told almost entirely in black and white, with sharp contrast accentuated in many scenes to not only make certain actions more visually striking, but also to make it easy to follow. Then, the movie does something unique. There are dashes of color in certain scenes to make certain actions and characters even more striking. There's a certain character that is highlighted with the color yellow. His physical appearance already makes him stand out, but that use of color makes him feel extra creepy and it's very effective. The sets and character designs (because some characters here are fitted with heavy makeup and prosthetics to make them stand out and look even more unique) make every frame look like a comic book panel, Every shot I saw looked like it had been meticulously planned out, like a piece of art you could have framed on your wall. The bold style isn't just a gimmick though. It's all blended in seamlessly with the story and helps to reinforce the grittyness and themes of corruption while helping accentuate the prevalent violence of the film. My only real criticism is that some of the performances aren't great (Bruce Willis plays it too low-key). It's a disappointment considering some of the others are quite good, and not in the ways you would expect either. I had to do a double take when I realized that was Elijah Wood and Mickey Rourke I just saw! It's a bit of a mixed bag in that department, but everything else is top notch. Once you see "Sin City" you'll be hard pressed to forget it, and not only because of the visuals. (Extended cut on Blu-ray, August 25, 2012)
- squirrel_burst
- Oct 15, 2014
- Permalink
Superbly directed by the perfect stylistic man for the job, Robert Rodriguez. Script crackles with zingers and classic noir schtick and it was hugely enjoyable the first time in 2005 and now again 15! years later.
- BigJimNoFool
- Jun 14, 2020
- Permalink
I just came back from an advance screening of Sin City, and I can tell you this is one salient reel of pitch of a film. Think of it as film noir amped up for a post modern century. It comes across like most of Frank Miller's writing, modestly fantastic for the comic environment, but steeped long and hard in the tradition of the underground crime writers of the '40's. Visually, the juxtaposition of the rich B&W with digitally-hued Technicolor makes it hard to take your eyes off the screen. This film was tailor made for most of the people who have been following Miller's writing for the past twenty odd years, brimming with many of his trademark elements and visual style that he, along with Messrs. Rodriguez and Tarantino, capture brilliantly. Not for more sensitive or under aged souls, Sin City will burn like a fire that you have to watch for everyone else.
A visually stunning movie, and a mesmerizing feel as the characters narrate their stories. The noir genre gets a much needed dose of contemporary improvement
This is a rare gem of art meets technology in a wonderful piece of film.
This is a rare gem of art meets technology in a wonderful piece of film.
- lightfinger-91687
- Dec 1, 2021
- Permalink
Just watched the Advance Screening last night and I must say that this movie pulls all the punches in violence. It deserves its hard R rating in the first five minutes and doesn't let up until the end credits roll. It has it all - bullets, boobs and be-headings - beautifully set in a grim atmosphere that really keeps you on the edge of your seat. All cast performances were excellent - especially Mickey Rourke's "Marv" character. Fans of the comic will not be disappointed in this film adaption. This movie is definitely not for the squeamish or faint-of-heart.
Sin City grabs you by the nuts and doesn't let go! A must see!
Sin City grabs you by the nuts and doesn't let go! A must see!