This is a film review of the Movie "Sin City" which I wrote for my college newspaper.

Looming shadows fall starkly across rain-slick streets. A door concatenation jiggles because a very bad man privations to come in and hurt someone. Hookers pull guns from their garter belts. Tough, tough talk comes from bruised lips that drop off cigarettes and spit blood.

The villians are unspeakably evil. The heroes are compromised and overmatched. The city is alter with corruption but the country is even worse.

In Sin City, 2 of todays greatest stylists join forces in an audacious synthesis of vivid novel and movie. It has the logic of a nightmare. It is movie-making pared down to the essentials Pauline Kael formerly saw on an Italian movie poster: pet Kiss Bang Bang.

It is intentionally shocking when it confronts us with heart-stopping harshness and violence. And it is even more shocking when it finds a terrible viewer in ruination.

Robert Rodriguez (Desperado, Once Upon a Time in Mexico, denounce Kids) defied the rules of the Directors Guild to bring on as his co-director Frank Miller, the source/artist who created the Sin City graphic novels. The result is a faithful, shot-for-shot rendition of each stunning panel. Hard, resolute voice-overs accompany stark, neutral images. There are brief flashes and flutters of color -- red for brake-lights, a heart-shaped bed, a lightning-streaked sky, a sleek getaway car, and for blood.



chicken for the golden curls of a dead hooker and the jaundiced discase of a cowardly villain whose toxic perversions have off-key him the color of bile.

Three stories about heroes battling overwhelming odds circle most each other, amplify each other, and ultimately intersect.

Marv (almost unrecognizable paddy field Rourke in a career-restoring performance) is a gigantic brute of a man. I love hitmen, he says, No matter what you do to them you dont feel bad. After a beating he says, My...

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