One story involves Bruce Willis as a battered old cop at war with a pedophile ( Nick Stahl). That's wise, because at this velocity, a two-hour, one-story narrative would begin to pant before it got to the finish line.
#Sin city imdb movie#
The movie is based on three of the "Sin City" stories, each more or less self-contained. "Sin City" could easily have looked as good as it does and still been a mess, if it were not for the energy of Miller's storytelling, which is not the standard chronological account of events, but more like a tabloid murder illuminated by flashbulbs. Every frame contributes, and the story marches from page to page in vivid action snapshots. A graphic artist has no time or room for drifting. Then came his " Once Upon a Time in Mexico" (2003), and I wrote it was "more interested in the moment, in great shots, in surprises and ironic reversals and closeups of sweaty faces, than in a coherent story." Yes, but it worked.Īnd now Rodriguez has found narrative discipline in the last place you might expect, by choosing to follow the Miller comic books almost literally. But never mind the first two " Spy Kids" were exuberant fun ("Spy Kids 3-D" sucked, in great part because of the 3-D). I held back, wondering if perhaps the Spy Kids would have been better served if the films had not been such a manic demonstration of his method. You want a nuclear submarine, you make one out of thin air and put your characters into it. You want a light over here, you grab a light and put it over here.
This is the future! You don't wait six hours for a scene to be lighted. I remember him leaping out of his chair and bouncing around a hotel room, pantomiming himself filming "Spy Kids 2" with a digital camera and editing it on a computer. Rodriguez has been aiming toward "Sin City" for years. And there's a narration that plays like the captions at the top of the frame, setting the stage and expressing a stark existential world view.
Some of the stills from the film look so much like frames of the comic book as to make no difference. On the movie's website, there's a slide show juxtaposing the original drawings of Frank Miller with the actors playing the characters, and then with the actors transported by effects into the visual world of graphic novels. We get not so much their presence as their essence the movie is not about what the characters say or what they do, but about who they are in our wildest dreams. The actors are mined for the archetypes they contain Bruce Willis, Mickey Rourke, Jessica Alba, Rosario Dawson, Benicio Del Toro, Clive Owen and the others are rotated into a hyperdimension. It internalizes the harsh world of the Frank Miller "Sin City" comic books and processes it through computer effects, grotesque makeup, lurid costumes and dialogue that chops at the language of noir. The movie is not about narrative but about style. It contains characters who occupy stories, but to describe the characters and summarize the stories would be like replacing the weather with a weather map. This isn't an adaptation of a comic book, it's like a comic book brought to life and pumped with steroids.
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