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 (Jaime King), 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
Tom Benton
The human bone Marv digs up at the farm is clearly a part of model skeleton rather than a product natural decay. Several holes are visible in the joint at the top where metal pin attaching it to the model was removed. See more »
Quotes
[first lines]
The Salesman:
[voiceover]
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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Crazy Credits
In the opening credits, each of the actor's names is shown with a frame from the comic, featuring their character. See more »
Alternate Versions
The theatrical version shown in France is cut slightly to get a 12 rating. Notable scenes removed include Roark Jr's ear blown off by Hartigan, Miho slicing off Jackie Boy's hand with a swastika/manji shaped shuriken and its aftermath and Hartigan removing Yellow Bastard's genitals and then beating him. The DVD release is uncut with a 16 rating. See more »
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.
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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.