A seemingly indestructible humanoid cyborg is sent from 2029 to 1984 to assassinate a waitress, whose unborn son will lead humanity in a war against the machines, while a soldier from that war is sent to protect her at all costs.
Four tales of crime adapted from Frank Miller's popular comics, focusing around a muscular brute who's looking for the person responsible for the death of his beloved Goldie, a man fed up with Sin City's corrupt law enforcement who takes the law into his own hands after a horrible mistake, a cop who risks his life to protect a girl from a deformed pedophile, and a hitman looking to make a little cash. Written by
With the exception of "The Customer is Always Right," at some point during each segment the narrator says the name of the story as part of the dialogue. See more »
When Dwight is hallucinating while driving to the pits, specifically during Jackie Boy's line, "Would you look at that," when Jackie Boy bends his head back, you can clearly see the holes through which fake smoke comes out his neck when he smokes. See more »
She shivers in the wind like the last leaf on a dying tree. I let her hear my footsteps. She only goes stiff for a moment.
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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.
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