Sin City

What a great experience! Captivating comic-book stylisation, great characters and a very entertaining story. With someone dying almost every minute, there’s a constant parade of new characters, but it doesn’t come with the problems associated with the need of introducing someone new all the time, it comes at neck-breaking speed. I don’t know why I postponed watching this film for so long. 9/10 (06.06.2009)

SIN CITY ist die erste originalgetreue Umsetzung des Comics als Pop-Art-Genre auf der Leinwand. Im Gegensatz zu den überwiegend episierten Filmerzählungen, die die Geschichte und bestimmte typische Merkmale von Comics übernommen haben, ordnet Rodriguez die "Sprache" (die Stilisierung der Erzählung) der ursprünglichen Plattform unter, für die die Geschichten geschaffen wurden. Den größten Anteil an der Suggestivität und Überzeugungskraft des Films hat wahrscheinlich der Autor der Romanvorlage, Frank Miller, der SIN CITY wirklich wie die bewegenden Streifen seiner Noir-Rhapsodie aussehen lässt. Wenn man dann noch einen ungewöhnlichen Anteil an beschreibenden Monologen und eine wahrhaft kulinarische Arbeit mit Farbe hinzufügt, hat man das formal perfekteste Remake auf dem Seziertisch, das wir je gesehen haben. Und der Inhalt? Es funktioniert, halt dich fest! Die düstere Welt von Kriminellen, Zuhältern und gezeichneten Menschen hat eine regelrechte Anziehungskraft, und obwohl die Geschichten in der Regel sehr gut lesbar und von Unlogik durchsetzt sind, die den Comic nicht stört, behält SIN CITY eine unglaublich intensive Atmosphäre bei, in der sich Noir-Grausamkeit und Naturalismus mischen und die an Sadismus grenzt. Die Psychologie der Situation funktioniert, und alle drei Hauptdarsteller geben ihr Bestes, jeder einzelne tadellos. Ich bedauere ein wenig eine gewisse Selbstgefälligkeit von Marvs Geschichte... es gibt einfach keinen starken poetischen Moment wie die Rache der Walküren oder Hartigans Lösung der Pattsituation. Doch ist es wirklich sehr schwer, Fehler zu finden. Ich habe mich tatsächlich manchmal gefragt, worum es eigentlich geht, worauf es hinausläuft... aber das ist eine irrelevante Frage. Nur zum Film selbst. Zu der reifen und harten Poesie, die ihresgleichen sucht... Auf seine eigene perverse Art ist SIN CITY eine Karikatur der heutigen Welt, deren schwarzer Humor zum Schmunzeln anregt. Vergnügen der postmodernen Dekadenz, das ist Sin City! (23.07.2005)

Black and white paper cut-outs in action. So far the most faithful, but unfortunately not the best ever comic book adaptation. Unlike the hard copy version, this lacks atmosphere. The extreme imbalance between all parts of this adds to the disappointment - especially the fluctuating quality of separate tales and of acting performances are particularly frustrating. What works in the comic book looks at best “interesting" here, if it doesn’t actually annoy you (for instance the monologs - less is more or, put otherwise: why repeat what killed the original version of Blade Runner?). Up until the end of “The Hard Goodbye", there isn’t much to fault, but then things go haywire, and everything turns 180 degrees. It’s certainly worth watching, the creators did it their way and, if they learn from their mistakes before the sequel, next time it really could be what we are waiting for. (17.04.2005)

When a devoted director decides to adapt my most beloved comic spectacle, window by window, with such an array of talented actors, it can only result in the highest rating. Bruce Willis and Clive Owen were simply born for Hartigan and Dwight. (16.04.2006)

I was really looking forward to Sin City, partly because of the advertisement that thundered that there hasn't been anything like it before, and also because so many well-known actors were involved in this miracle... I mean film. That's why the final form disappointed me. Robert Rodriguez didn't understand the fundamental difference between the two media, and his admiration for comic book material completely blinded him. It's as if someone decided to film a novel word for word, sentence by sentence. It would be a monstrosity, as these are two completely different media. The same applies to the relationship between comics and films, even though they are closer due to the emphasis on visual elements. Sin City lacks what makes a film a film - a film script. The comic reader imagines the story between the panels, so the author works with exaggeration and the comic stimulates the imagination. This doesn't apply to the film, which requires more dialogue and character development so that they don't remain flat figures. Sin City is nothing more than a moving comic. It cannot satisfy fans of either medium. Certainly, it is visually interesting, even captivating at first glance, and the women embody the erotic fantasies of many men. But that's just not enough... Overall impression: 55%. (26.08.2007)

It’s hard to rate a movie consisting of several chapters, so I’ll have a stab at good old average. The Hard Goodbye: The first and, at the same time the best chapter tells a tale of revenge. Marv (the excellent Mickey Rourke) wakes up one morning only to find out that the woman he loved like nothing else on earth was murdered right next to him while he slept. So he goes in search of the murderer and his path is paved with a sea of bodies. This amazingly gloomy and all-round pretty dark story scores points on all fronts. The best, well.. “positive" protagonist (Marv), the best negative character (Kevin), best chapter and mainly the most fun. *****. The Big Fat Kill: Now follows the weakest chapter. It’s still pretty decent, but not as entertaining like the first two. It has a pathetic villain and Clive Owen is rather lackluster. And the only really excellent scene is the work of Tarantino (the dialog in the car). *** That Yellow Bastard: The second best chapter. Despite being such a “grandpa", Bruce Willis is still amazingly awesome, just like he used to be and the villain is good and slippery, disgusting and yellow. The only thing that is a little shaky is the romantic subplot, where Jessica Alba does more harm than good for the story. She is a sight to behold, no discussion, but the movie should leave it at that. Nevertheless, very strong ****. Rodriguez transferred the entire comic book to the movie almost frame by frame, occasionally succeeding, occasionally not. Let`s hope that he will hone this into perfection for part two. (14.09.2006)

An audiovisual bomb, bursting with phenomenal visual stylisation. The definition of a new age cinematic “image”. (18.08.2005)

Sin City is a phenomenon. As a whole, it's perhaps a bit inconsistently segmented, so that the individual episodes don't really support or complement the development of the rest, but I still can't get most of the segments out of my head and I'm always happy to watch it again – Rodriguez has stylized the film in a fiercely sexy way, inoculated it with juicy comic violence, and pumped it up with a plethora of great actors who absolutely nail their already interesting roles (Rourke, Willis, and Owen in descending order are the best). The atmosphere works, and Sin City is such a dirty, bleak and unpredictable place that I could have stayed in it a bit longer. Emotions aside, this is a pure visual experience... 80% (05.08.2018)

Probably the most faithful comic book adaptation in a live-action film. Zack Snyder tried a lot with "Watchmen", but it just didn't work there. In this case, neither did it. Frank Miller illustrated the comic cinematically and Robert Rodriguez understood that and simply brought the individual frames to life, gave faces to the characters with famous actors, and created a contemporary noir. Or maybe even the future. Beautifully stylized, beautifully gritty, and incredibly fun. Yes, I have a weakness for Rodriguez, just like I do for Tarantino, and his action B-movies are simply captivating. Until next time. (22.01.2014)

After the not-so-great Spy Kids trilogy, Robert Rodriguez reached for the comic book source material and, in collaboration with Frank Miller and Quentin Tarantino, made one of his best, if not his best film. The visuals are absolutely perfect, wonderfully capturing the raw atmosphere of the comic book. There are no issues with the cast either – Rourke ("That there is one damn fine coat you're wearin’.") Owen, Willis, Del Toro... What’s more, the individual stories are told with a reasonable amount of hyperbole, so it's nice that Sin City doesn't take itself too seriously. And that's part of the reason I’m giving it 5 stars – the film doesn't mess around, it's a faithful copy of Miller's comic, it impresses with elaborate visuals and a more than pleasant cast, and the direction does exactly what is expected of it. The few apt dry lines are just icing on the cake. 95% (27.03.2009)