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Dan Owen reviews

Sin City

"Walk down the right back alley in Sin City and you can find anything..."

Viewed at Odeon, Lincoln Wharf

Cover

  • Cert:
  • Running time: 124 minutes
  • Year: 2005
  • Released: 3rd June 2005
  • Widescreen Ratio: 1.85:1

Directors:

    Robert Rodriguez & Frank Miller (and guest director Quentin Tarantino)

Producers:

    Elizabeth Avellan, Frank Miller, Robert Rodriguez, Andrew Rona, Bill Scott, Bob Weinstein, Harvey Weinstein & Brad Weston

Screenplay:

    Frank Miller & Robert Rodriguez (adapted from the graphic novel by Frank Miller)

Cinematographer:

    Robert Rodriguez

Music:

    John Debney, Graeme Revell & Robert Rodriguez

Cast:

    Hartigan: Bruce Willis
    Marv: Mickey Rourke
    Dwight: Clive Owen
    Jackie Boy: Benecio Del Toro
    Nancy Callahan: Jessica Alba
    Gail: Rosario Dawson
    Kevin: Elijah Wood
    Roark Junior/Yellow Bastard: Nick Stahl
    Shellie: Brittany Murphy
    Bob: Michael Madsen
    Lucille: Carla Gugino
    Becky: Alexis Bledel
    Senator Rourke: Powers Boothe
    The Man: Josh Hartnett
    Cardinal Rourke: Rutger Hauer
    Manute: Michael Clarke Duncan
    Miho: Devon Aoki


Make no mistake about it - Sin City is one of the most gruelling and unapologetic displays of cinematic machismo of the 21st Century... well, at least until the inevitable sequels...

Adapted from the sensationally gritty graphic novels by Frank Miller (a revered genius of the comic-book genre), Sin City is simply ripped from the page and thrown onto the silver screen by Robert Rodriguez - a one-time maverick director (El Mariachi) who more recently gave us the increasingly silly Spy Kids trilogy.

However, with Sin City, Rodriguez quickly reaffirms his maverick streak. Indeed, his illegal co-director credit with author Miller led to Rodriguez losing his membership with the Director's Guild of America (well, rules were meant to be broken...) One can only hope this return to form imbues Rodriguez with the good sense to shove future firecrackers up the ass of American cinema.

Sin City, quite simply, is an astonishing achievement. Filmed entirely with greenscreen, the backgrounds and vehicles only ever existed digitally in a computer (as with Sky Captain & The World Of Tomorrow, but much better.)

If you've read Frank Miller's graphic novels you've basically seen the film's storyboard. Rodriguez is meticulous with the attention to detail. No other film has ever been so faithful to its source material; making Sin City a comic-book adaptation no fan can claim "lost its soul" in the process of becoming celluloid.


The movie is split into three main stories - in one, an ugly brute called Marv (Mickey Rourke, on career resuscitating form) avenges the death of a prostitute called Goldie. Elsewhere, Dwight (Clive Owen, finally erasing memories of King Arthur) makes it his mission to kill Jackie Boy (Benecio Del Toro), a hook-nosed slimeball harassing the city's hookers in the Old Town district run by leather-clad vixen Gail (Rosario Dawson). Finally, hardboiled cop Hartigan (Bruce Willis) finds himself in an impossible situation while trying to rescue a young girl from the clutches of a paedophile.

Each vignette lightly touches on each other - but only by virtue of characters intruding across stories in the background. It would have been great fun to have had stronger cohesion between the tales - as you feel Sin City missed a trick Pulp Fiction employed to greater effect - but the movie still manages to neatly bookend its stories rather nicely.

The actors are all on fine form, chewing the scenery and narrating meaty slices of film noir dialogue with relish. Mickey Rourke's Marv steals the show with his lantern jaw and imperviousness to serious injury (watch him as he's knocked into the air like a ragdoll by a vengeful car driver!) Rourke not only looks perfect under layers of latex, but he has the essence of the character burned within him and reels off the dialogue and goofy one-liners with great composure.

Clive Owen, while the weakest of the three male leads, nevertheless creates a dashing antihero, and Bruce Willis (while essentially resurrecting Pulp Fiction's Butch in a trench coat) remains as steadfastly charismatic and grizzled as ever.

Rounding out the cast is a veritable who's who of Hollywood talent (and Rodriguez alumni): Jessica Alba is suitably sassy as table-dancer Nancy, Brittany Murphy is okay but her voice grates throughout as a saloon waitress, Benecio Del Toro conjures a sinister villain with creepy vocals, Elijah Wood is deliciously sinister as light-footed cannibal Kevin and Rosario Dawson is great as hard-ass hooker Gail. Peripheral characters from Carla Gugino, Alexis Bledel, Michael Clarke Duncan, Rutger Hauer, Josh Hartnett, Devon Aoki, and everyone else are also solid creations.

It's a testament to Rodriguez and Miller that such note-perfect performances were pulled from a greenscreen environment that seemingly thwarted George Lucas' efforts in the Star Wars prequels. The visual effects throughout are generally very good live-action representations of comic book drawings, although there are occasions throughout (particularly in the first third) that are too obviously "unnatural" and badly composed.


Occasionally the movie resembles intercut sequences from a video game, although once you have settled into Sin City's groove this becomes less noticeable. Obviously, virtual sets being used to this extreme is a relatively new undertaking - and it's clear the directors were gradually becoming more at ease with the greenscreen process. By the half-way point, the process has almost become unnoticeable.

Sin City is also notable for its shocking use of graphic violence. Of course, the multiple beheadings, dismemberments, hangings, shootings and slashings all escape the censor due to Sin City's stylized monochrome colour scheme, but the gore is still unwaveringly powerful in its depiction. Dashes of colour permeate through this black and white world: golden manes of hair, the blue of eyes, and - of course - the red of freshly spilt blood. This only adds to the imaginative streak of the piece, and makes the copious amount of bloodletting more palatable for audiences.

To summarise; Sin City is a rollercoaster ride of macho entertainment. Anyone after a whirlwind ride through a dark metropolis populated by nefarious characters caught in impossible situations, being doused with bullets, while simultaneously crashing cars, detonating bombs and having their hands chopped off by swastika-shaped ninja stars, will love every bloody second.

The plots may be simplistic adult-themed tales, essentially - hoping only to elicit maximum squirm factor by their implausible, yet fascinating, dive into seedy and violent territory... but, with a movie called Sin City, what did you expect?

This is grandiose filmmaking for every testosterone-fuelled male (and some females, I'm sure) to gawp at, while also providing welcome slices of jet black comedy (a body-impaling arrow gag is sublime.)

It really would be a sin to miss it!


DIRECTION
PERFORMANCES
SPECIAL FX
SOUND/MUSIC



OVERALL

Review copyright © Dan Owen, 2005.

E-mail Dan Owen

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DVDfever.co.uk - Est. February 25th 2000

As of April 2009, Blu-rays and DVDs reviewed by the editor are watched on a Panasonic TH-37PX80B 37" Plasma TV with a Sony BDP-1500 Blu-ray player and played through a Yamaha DSP-AX820 amplifier.

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