Une histoire de Sin City

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.

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.

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.

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...

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.