Sin City | | Cast : | Clive Owen, Mickey Rourke, Bruce Willis | | Director : | Quentin Tarantino, Robert Rodriguez, Frank Miller (II) | | Studio : | Dimension Home Video | | Format : | Color, Closed-captioned, Widescreen, Dolby | | Released Date : | April 01, 2005 | | DVD Released Date : | August 16, 2005 | | Language : | English (Dubbed), French (Dubbed), Spanish (Subtitled) | | Audience Rating : | R (Restricted) | | | BUY THIS DVD FROM AMAZON |
Customer Reviews
| Rating |  | | Date | August 09, 2005 | | Summary | Grand Pooba | Content
 | It was a great movie for about 20 minutes, then the B&W novelty with a spash of color wore off, I wish he kept it fresh like Miller in the comics. There could have been something in the final arc that wowed us like certain visual effects in the begining.
Could have been much better.
Topmooin' it
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| Rating | | | Date | August 07, 2005 | | Summary | Well, two out of three ain't bad | Content
| For two-thirds of its running time - the first half hour and the last half hour - this is great, revolutionary filmmaking, the ultimate film noir comic book come to life. But the whole thing judders to a dead stop when Clive Owen appears. I've no idea who he's sleeping with or who he's got the goods on, but it's obvious he hasn't got as far as he has on talent: the man simply cannot act to save his life. He looks bored, he sounds bored, and dammit, he IS bored throughout his section, dragging the movie down with his inertia and lack of talent.
But definitely buy this DVD. Why? Well, it could be because Mickey Rourke gives the performance of a lifetime in his section. Or it could be because Bruce Willis shows how even only one gear away from autopilot star quality can carry noir to the heights. But mostly it's because you can skip through Clive Owen's dead weight scenes and get to the good stuff in a way you couldn't in the cinema, leaving you with a great 70 minute movie instead of a compromised 100 minute one.
66/100% proof! |
| Rating | | | Date | August 06, 2005 | | Summary | One for the Road | Content
| Let's talk, you and me. Let's talk about Love.
Alright, yeah, I know, you don't believe in it. But it's late---have another drink---and now that the dinner-time crowd has cleared out of this seedy little Sin City juke joint, let's you and me talk. And since Love is the subject, Daddy-O---well, let's just say the drinks are on me. Smoke 'em if you got em, Sparky.
"Sin City" is something like raw, liquid adrenaline, brewed up, steeped, allowed to hop, then mainlined right into your skull. It packs a punch, a real whallop, a one-two crusher punch that smashes your cerebellum like it was made of glass. It has been called filthy, vile, degenerate, base, and evil by every American film commentator of merit or any kind of repute.
Amazingly, "Sin City" is a whore with a heart of gold. A very noble, beating heart. A strangely traditional heart, below all the street grime, and blood, and powder burns. Because what ties "Sin City" together---apart from the style, and the CGI-noir 1940's cityscapes that shimmer and breathe, and the violence---is Love. Love for a woman. Love for a woman who ennobles you, a woman real or imagined, a woman, like Dante's Beatrice, who lifts you up out of the pit of Hell that is Life.
Think of it this way: Hartigan (Bruce Willis, looking like a Rocky Mountain crag come to reluctant life) risks it all---his life, his retirement, the girl, gold watch, everything baby---for Skinny Little Nancy Callahan.
Marv goes on a full-bore slaughter spree and works his way up to the Ecclesiastical top (courtesy of Rutger Hauer, conjuring up his best work as Cardinal Roark)---all courtesy of the idealized, and doubly dead, Goldie.
And then you have Dwight, resourceful Dwight (a workmanly performance by Clive Owen), who doesn't really idealize his "Warrior Woman" Gail (Rosario Dawson) until she's laying down her Valkyrie moves late in the game. But she *is* an inspiration, unwitting or not, as War and Blood and Rape close in on Old Town.
Like Caesar's Gaul, "Sin City" is divided into three parts, pulling together stories, bits, and pieces from several of the graphic novels, slicing and dicing them, then folding them back on themselves. The flow is paced juicily, and works in spades, roaring along with a growl and a throaty purr and neatly bookended by dual assassinations.
Now: we talk, often disparagingly, about the role CGI has come to play in movies. In the "Star Wars" prequels, CGI and digital graphics have come to totally displace the drama. But in "Sin City", directorial triumvirate Robert Rodriguez, Frank Miller, and Quentin Tarantino have used the medium to enhance the mssage.
For all its heightened aesthetic, "Sin City" is grounded in its own warped sense of reality: you can practically smell the leather of psycho killer Roark Jr.'s trenchcoat, feel on your face the steam and fog rising out of the city sewer grates and manholes, smell the charnel reek of Kevin's bucolic Deathhouse (and did it seem to you that Elijah Wood was having just a bit too *much* fun?), feel the massiveness, the perspiring hulk, of the illusionary city.
"Sin City" makes the technology its slave, and not the other way around. It has shackled the CGI to the drama: the use of color, the rock-solid sickness of the Yellow Bastard himself, the retro-cars that practically lunge and heave themselves across the pavement: all of it plays to the strengths of the story and the actors carrying the story out. And props to the acting: even the weakest link (Jessica Alba, as the chaps-wearing Nancy) carries her weight. Some, like Nick Stahl and the revived Mickey Rourke and Bruce Willis, achieve a kind of actor's Nirvana.
The point I'm making here, Daddy-O, is that "Sin City" is all teeth. It's like Marv said: the all-or-nothing times. The flick to end all flicks, a remote oasis of sincerity, brutality, and maybe even Love in a scarred, arid desert landscape of steam and grime and blood and hate and flickering neon.
"Sin City" proves it: there is Love among the Ruins.
JSG |
| Rating | | | Date | August 06, 2005 | | Summary | There are morals here! | Content
| This movie has a moral center, and for that I love it. It's definitely a man's film (and graphic novel), and at the center of each story is a man who will give his life to protect a woman. What's morally ambiguous about that? |
| Rating | | | Date | August 05, 2005 | | Summary | Good cinematics. Degenerate story. | Content
| This movie exhibited interesting cinematic creativity. This visual interest is as far as the movie's value extends unfortunately.
There is no redeeming value to the storyline. This movie revels in perversion, sadism, and immorality. This is yet another movie in these troubled times that only adds to the fire and will further twist people's minds.
Let's support good, wholesome, uplifting movies and art! When we focus on these things, then people's thoughts will be on these things. Inline attitudes, thoughts, and behaviors then result.
Let's not wallow in this filth. |
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