Spring Break
Sin City
Movie Review
Ryan Evans
Issue date: 5/6/05 Section: The Edge
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Grade: A
"Sin City" is a film made in the classic film noir style, which incorporates subtleties that add to the dimensions of the film and allow the motion picture to consume the viewer in the unfolding plot.
Elements such as the thick, raspy narration of Marv, played by an unrecognizable Mickey Rourke, add to the development of the story and only enhance the other subtle nuances of the film.
These elements come together to pay homage to Frank Miller, the creator of "Sin City," who also was one of the directors of the film, accompanied by the director of "Once Upon a Time in Mexico," Robert Rodriguez and the notorious Quentin Tarantino.
"Sin City" focuses on the rough, gritty lifestyle of a world where only the strong, powerful and intelligent survive. The film does not focus on mere violent acts between the characters, but rather it examines each character and allows each individual to assert his or her own uniqueness to the plot.
The dialogue in the film is equivalent to that of a standard Tarantino film, in which the characters do not react to the developing plot, but rather each character perpetuates the development of the plot as if each of their choices governs what will occur next.
Probably the most astounding feature of "Sin City" is the beautiful use of color. The stark black and white imagery combined with amazing cinematography allows the viewer to feel the gritty and seedy environment of the film.
While "Sin City" was originally a series of graphic novels, Miller decided to combine and inter-splice three separate narratives into one film.
The film begins with "That Yellow Bastard," the story that revolves around John Hartigan (Bruce Willis) the hard-boiled honest detective, which is an endangered species in Sin City. It is a tragic tale of the hunt for a raging pedophile named Roark Jr. (Nick Stahl). He's the son of a corrupt senator (Powers Boothe), a man who is determined to protect his offspring at all cost. This segment is cut in two as the film opens with the tale, and ends with it as well. This story also makes for the film's best use of color as Roark Jr. transforms toward the end of the film into the Yellow Bastard.
"Sin City" is a film made in the classic film noir style, which incorporates subtleties that add to the dimensions of the film and allow the motion picture to consume the viewer in the unfolding plot.
Elements such as the thick, raspy narration of Marv, played by an unrecognizable Mickey Rourke, add to the development of the story and only enhance the other subtle nuances of the film.
These elements come together to pay homage to Frank Miller, the creator of "Sin City," who also was one of the directors of the film, accompanied by the director of "Once Upon a Time in Mexico," Robert Rodriguez and the notorious Quentin Tarantino.
"Sin City" focuses on the rough, gritty lifestyle of a world where only the strong, powerful and intelligent survive. The film does not focus on mere violent acts between the characters, but rather it examines each character and allows each individual to assert his or her own uniqueness to the plot.
The dialogue in the film is equivalent to that of a standard Tarantino film, in which the characters do not react to the developing plot, but rather each character perpetuates the development of the plot as if each of their choices governs what will occur next.
Probably the most astounding feature of "Sin City" is the beautiful use of color. The stark black and white imagery combined with amazing cinematography allows the viewer to feel the gritty and seedy environment of the film.
While "Sin City" was originally a series of graphic novels, Miller decided to combine and inter-splice three separate narratives into one film.
The film begins with "That Yellow Bastard," the story that revolves around John Hartigan (Bruce Willis) the hard-boiled honest detective, which is an endangered species in Sin City. It is a tragic tale of the hunt for a raging pedophile named Roark Jr. (Nick Stahl). He's the son of a corrupt senator (Powers Boothe), a man who is determined to protect his offspring at all cost. This segment is cut in two as the film opens with the tale, and ends with it as well. This story also makes for the film's best use of color as Roark Jr. transforms toward the end of the film into the Yellow Bastard.
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