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| There’s a double edged sword of dealing with material beloved by geeks. On the one hand, if a director stays too faithful to the material, then you go “what’s the point of seeing it if you didn’t do anything with it?” On the other hand, if the director goes with their own vision, reinterpreting or re-imagining the source material, they run the risk of the geek saying “they ruined it.” The key is capturing the spirit of the work without reproducing it, but since reproduction on this scale, in so unique a fashion, hasn’t been done, this movie is landmark. |
SIN CITY
(2005) Film Review |
| This
page was created on March 22, 2005
This page was last updated on
April 8, 2005
—Overview
—Photos
—About this Film pdf
—Spiritual Connections
Review on Maurice Broaddus' Blog
Review on Matthew Hill's blog
Review on Kevin Miller's blog
Review Ed Travis' blog
Dial up modems will take a few moments |
| CREDITS |
|
Directed
by Frank Miller, Robert Rodriguez and Quentin Tarantino
(special guest director)
Writen by Frank Miller
Comics by Frank Miller
screenplay by Robert Rodriguez
Cast
(in credits order)
Jessica Alba .... Nancy Callahan
Rosario Dawson .... Gail
Elijah Wood .... Kevin
Bruce Willis .... John Hartigan
Benicio Del Toro .... Jack Rafferty
Michael Clarke Duncan .... Manute
Carla Gugino .... Lucille
Josh Hartnett .... The Salesman
Michael Madsen .... Bob
Jaime King .... Goldie/Wendy
Brittany Murphy .... Shellie
Clive Owen .... Dwight
Mickey Rourke .... Marv
Nick Stahl .... Junior/Yellow Bastard
Marley Shelton .... The Customer
Arie Verveen .... Murphy
Devon Aoki .... Miho
Alexis Bledel .... Becky
Chelsea Bulte .... Waitress
Jude Ciccolella .... Commissioner Liebowitz
Jason Douglas .... Hitman
Penny Drake .... Old Town Girl
Lauren-Elaine Edleson .... Old Town Girl
Rick Gomez .... Mr. Shlubb
Rutger Hauer .... Cardinal Roark
Natalie Hess .... Old Town Girl
Jason McDonald .... Ronnie
Frank Miller .... Priest
Sherrell Murphy-Ramos .... Molly Prince
Tommy Nix .... Weevil
Jeff Schwan .... Tommy
Scott Teeters .... Lenny/Benny
Makenzie Vega .... Young Nancy
Produced
by
Elizabeth Avellan .... producer
Frank Miller .... producer
Robert Rodriguez .... producer
Andrew Rona .... executive producer
Bob Weinstein .... executive producer
Harvey Weinstein .... executive producer
Brad Weston .... executive producer
Original Music by
John Debney
Graeme Revell
Robert Rodriguez
Cinematography by Robert Rodriguez
Film Editing by Robert Rodriguez
MPAA Rated R for sustained
strong stylized violence, nudity and sexual content including dialogue
Runtime: 126 min
For rating reasons, go to FILMRATINGS.COM,
and MPAA.ORG.
Parents, please refer to PARENTALGUIDE.ORG
|
| TRAILERS
AND CLIPS |
Teaser:
QuickTime,
Hi-Res
QuickTime,
Med-Res
QuickTime,
Lo-Res
Trailer:
QuickTime,
Hi-Res
QuickTime,
Med-Res
QuickTime,
Lo-Res
Featurette - 'Bringing the Graphic Novel to Life':
Windows
Media Player |
| CD |
Sin
City (Score) [SOUNDTRACK]
|
| BOOK |
Sin
City: The Hard Goodbye (Book 1)
Sin
City: A Dame to Kill For (Book 2)
Sin
City: The Big Fat Kill (Book 3)
Sin
City: That Yellow Bastard (Book 4)
Sin
City: Family Values (Book 5)
Sin
City: Booze, Broads, & Bullets (Book 6)
Sin
City: Hell and Back (Book 7)
Frank
Miller's Sin City : The Making of the Movie
|
| POSTER |
|
| AVAILABILITY
ON VIDEO AND DVD |
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AVAILABILITY AND PRICING OF THIS MOVIE ON VIDEO OR DVD.
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|
| SYNOPSIS
|
Welcome
to Sin City. This town beckons to the tough, the corrupt, the brokenhearted.
Some call it dark. Hard-boiled. Then there are those who call it home.
Crooked cops. Sexy dames. Desperate vigilantes. Some are seeking revenge.
Others lust after redemption. And then there are those hoping for
a little of both. A universe of unlikely and reluctant heroes still
trying to do the right thing in a city that refuses to care.
Their stories -- shocking, suspenseful and searing -- come to the
fore in a new motion picture from co-directors Frank Miller and Robert
Rodriguez, and special guest director Quentin Tarantino. With verve and invention, Miller and Rodriguez plucked
the stories of Sin City right off the comic book page. Then, using
cutting-edge digital filmmaking, they pasted these ultimate urban
tales of louts, lugs, heroes and hussies to the screen without losing
any of the comic’s silhouetted look and staccato rhythms.
SIN CITY is brought to life through light and shadow - through clipped
dialogue, stylized performances and visual invention.
Three
Tales from the Dark Heart of Town
The
central story follows Marv, a tougher-than-nails street-fighter
who has always played it his way. When Marv takes home a Goddess-like
beauty named Goldie, only to have her wind up dead in his bed --
he scours the city to avenge the loss of the only drop of love his
heart has ever known.
Then there’s the tale of Dwight, a private
investigator perpetually trying to leave trouble behind, even though
it won’t quit chasing after him. After a cop is killed in
Old Town, Dwight will stop at nothing to protect his friends among
the ladies of the night.
Finally, there’s the yarn of John Hartigan
-- the last honest cop in Sin City. With just one ticking hour left
to his career, he’s going out with a bang as he makes a final
bid to save an 11 year-old girl from the sadistic son of a Senator
. . . with unexpected results.
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| |
 It took Robert Rodriguez (Spy Kids, Once Upon a Time in Mexico) Quentin Tarantino (Pulp Fiction, Kill Bill) and comic book legend, Frank Miller, to faithfully bring Sin City to life. [It was Frank Miller’s vision of Batman in his The Dark Knight Returns that ushered in the first series of Batman movies and his Batman: Year One on which the upcoming Batman Begins leans.] The movie didn’t stop at simply preserving the look of the comic book. Not contenting itself to be a translation from the graphic novel to the silver screen, it transliterated it (if you’ll allow me to use “transliterate” this way). The movie had the feel of simply using the comic book as the story boards and filming it as is (thus earning it’s full title: Frank Miller’s Sin City). There’s a double edged sword of dealing with material beloved by geeks (my term of affectionate for rabid fandom, of which I am a member). On the one hand, if a director stays too faithful to the material, then you go “what’s the point of seeing it if you didn’t do anything with it?” On the other hand, if the director goes with their own vision, reinterpreting or re-imagining the source material, they run the risk of the geek saying “they ruined it.” The key is capturing the spirit of the work without reproducing it, but since reproduction on this scale, in so unique a fashion, hasn’t been done, this movie is landmark.
Continued on Maurice's Blog
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|
 So I’m sittin’ here in this movie theater. It’s quiet. Dark. Illuminated only by the projector—spinning its myriad of previews—which cuts through the darkness like glass through a fist. And it smells the way a theater should smell. And the audience . . . well, there’s no time to wax poetic. I got a job to do. Someone’s gotta review this thing—and I guess it’s gonna be me. Hell, I’ve done it before.
This is how my film review might sound if I were to mimic the hard-boiled, first-person-narrative style of Rodriguez’s film-noir Sin City. You’ve heard that sort of thing before: all grit and attitude, just like this movie as a whole. But, just like there’s always something lurking beneath the seemingly flat surface of characters who talk that way, there’s something more lurking beneath the dark, stylized vision of Sin City.
Continued on Matthew Hill's blog |
|
"I feel traumatized, I feel embarrassed, I feel sick, I feel dirty. I've just seen Sin City, and I'm sorry."
--Excerpt from a voice recording I made on the way home from this film.
Three days later, I'm no longer sorry I saw Sin City. With Frank Miller, Robert Rodriguez, and Quentin Tarantino being some of my favorite writers/filmmakers, there's no way I could have missed it. But I think my comments above reflect how powerfully disturbing this film really is. I've never seen anything like it. I thought I had a strong stomach. I wanted to cheer after viewing Pulp Fiction for the first time. But even though I was a big Frank Miller fan growing up (he and Alan Moore are still two of my favorite writers), nothing I had read prepared me for this.
Review coninued on Kevin's blog |
|
"Walk down the right back alley in Sin City, and you can find anything..." This idea couldn’t be more true in Robert Rodriguez and Frank Miller’s fanboy dreamland film Sin City. By now a lot of the background of this film is well known, but some of that must be acknowleged before exploring the film itself. This project was so important to its director that he left the Director’s Guild of America just to give Frank Miller a co-directing credit on the film. Here is a project that remained so true to its source material that it lifted most of the film directly from the frames of the graphic novels they were based on. Extreme measures were taken to bring the unique visual style of the comics to a live action film. Rodriguez even brought in Quentin Tarantino to direct a small piece of the film, almost flaunting his freedom from the Director’s Guild. Eager to come on board with this rebellious director, stars from across the globe turned out to play pulp roles that fit them like gloves. This is a film that had the fingerprints of a geek landmark of over it before it even hit the screens.
Review continued on Ed Travis' blog |
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