Friday, April 01, 2005

REV: Sin City reviews

I'll begin collecting reviews of Sin City here as i find them . . .

Read all of A Visual Pioneer from CNN (Paul Clinton)


"Sin City," adapted from three hardboiled comic books by the renowned graphic novelist Frank Miller, is without doubt the most visually stunning live action transfer of the comic book format to the big screen ever made.

The stark black and white images -- with beautifully calculated splashes of vivid color -- are shockingly faithful to Miller's lurid, ultra-violent, crime-riddled world. It's an alternative universe where almost everyone is a perpetrator, a victim or a witness.

Co-directed by Miller and Robert Rodriguez -- with a special guest director stint by Quentin Tarantino -- the film was shot entirely against green screens using the latest in high-definition cameras. Rodriguez and Miller have lifted the comic-book panels from page to screen. The result is an eye-popping visceral feast.

Read all of A Savage and Sexy City from the New York Times (Manohla Dargis)


There are eight million stories in the naked city and almost as many crammed into "Sin City." Based on the comic book series of the same name by Frank Miller, who directed the film with Robert Rodriguez, this slavishly faithful screen adaptation tracks the ups and downs (mostly downs) of tough guys and dolls recycled from the lower depths and bottom shelves of pulp fiction. Instead of Raymond Chandler, though, with his weary allusions to Shakespeare and Keats, these hard-boiled tales owe a debt to the American primitivism of Mickey Spillane and comic book legends like William Gaines.

Set in a nowhere metropolis, the film opens with a gaspingly beautiful image of a woman staring into the night. Dressed in a shimmering gown the color of newly spilled blood, she stands with her back to the camera, oblivious. That gives us time to register that this red is the only color in a landscape exclusively painted hot white, bottomless black and silvery gray. It also gives the narrator (Josh Hartnett) time to creep up on her. Soon, the man offers the woman a cigarette and takes something far more precious from her in return. With a few short sentences and an act of violence, the filmmakers telescope the death and desire to follow, as well as the underlying brutality of their world.

Read all of Plenty of Sin at MSNBC (John Hartl)


The credits for “Frank Miller’s Sin City” list three directors: Miller, whose graphic novels inspired the movie; Robert Rodriguez, the ingenious director of the “Spy Kids” series; and Quentin Tarantino, a “guest director” whose approach to comic violence appears to have been a major influence.

Maybe that’s too many cooks. The movie is all over the place, mixing film-noir visual styles and plots with famous actors whose faces are so buried in makeup it’s hard to tell who’s playing what. The script by Miller and Rodriguez, which suggests a cut-and-paste job rather than a coherent narrative, is drawn from several of Miller’s stories.

Read all of The Genius of Sin City at Slate (David Edelstein)


As a film critic, I have often bemoaned the amorality and opportunism of the vigilante genre, as well as the sadism and righteous torture on display in movies and television in the wake of Sept. 11. From time to time, I have also lamented the explosion of the comic-book superhero genre.

With the recent exceptions of Spider-Man 2 and The Incredibles, these cookie-cutter action thrillers have been crafted for a generation weaned on Game Boys. Meanwhile, computerized effects have taken cinema farther and farther from the world that human beings actually inhabit. And now comes cinema's latest devolutionary milestone, Sin City (Miramax), a graphic novel come to life, its sets copied from the page and regenerated in three dimensions inside a computer, and boasting the most relentless display of torture and sadism I've encountered in a mainstream movie.

My reaction to Sin City is easily stated. I loved it. Or, to put it another way, I loved it, I loved it, I loved it. I loved every gorgeous sick disgusting ravishing overbaked blood-spurting artificial frame of it. A tad hypocritical? Yes. But sometimes you think, "Well, I'll just go to hell."
From Roger Ebert

From Peter Keough in The Boston Phoenix

From Andy Klein in the LA City Beat

From Bradley Steinbacher at The

From Wiley Wiggins at News of the Dead

Thanks to GreenCine Daily for some of these leads

Update: The movie is actually IN Neanderville for opening day. So i'll be headed out to see it and post my own review soon.


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