A former assassin known as The Bride wakens from a four-year coma. The child she carried in her womb is gone. Now she must wreak vengeance on the team of assassins who betrayed her - a team she was once part of.
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
Robert Rodriguez, who credits Frank Miller's visual style in the comic as being as relevant as his own in the film, insisted that Miller receive a "co-director" credit with him. The Directors' Guild of America would not allow it. As a result, Rodriguez resigned from the DGA, saying, "It was easier for me to quietly resign before shooting because otherwise I'd be forced to make compromises I was unwilling to make or set a precedent that might hurt the guild later on." Unfortunately, by resigning from the DGA, Rodriguez was also forced to relinquish his director's seat on the film John Carter (2012) (at the time "A Princess of Mars" after the book on which it was based) for Paramount. Rodriguez had already signed on and been announced as director of that film when the DGA situation took place, and had been planning to begin shooting soon after wrapping this film. See more »
The shadow that Marv casts on the window of the lousy room is later shown to be on the wall. 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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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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