Sin City
Directed by Robert Rodriguez and Frank Miller

By James Keast

More than simply a film adaptation of Frank Miller’s noir comic serial Sin City, the latest project from Robert Rodriguez (Once Upon A Time in Mexico) is Sin City brought to life. No wonder the film captures the books’ look so precisely — Miller was so heavily involved in the process, Rodriguez gave him a co-director credit (along with "guest director" Quentin Tarantino). Getting the look right is more than half the battle here, and they pull it off in spades: the rich, inky blacks are splashed with digitally-altered colour throughout, and from one protagonist’s red shoes to the sickly yellow blood of a villain to the golden tresses of a blonde prostitute, the use of colour manages to punctuate and not distract. Drawn from three distinct Sin City tales, the plot stitches together a loosely connected series of noir-inspired tales of dirty cops, violent drunks and heart-of-gold (and armed to the teeth) hookers. Embodying these archetypes is a massive cast of name brand goodness too long to even mention, but amongst them, Mickey Rourke is spectacular as tough guy Marv; Bruce Willis does a solid Hartigan; Nick Stahl slithers as That Yellow Bastard; and Jessica Alba, Rosario Dawson and Gilmore Girl Alexis Bledel rule the red light district. For fans of Miller’s visually driven books, this is a pinnacle accomplishment. However, for those who find Sin City to be too thin in story and character depth, those same, um, sins handcuff the film as well. Without a strong narrative through-line, Rodriguez treats different serial stories as vignettes within Sin City’s bigger picture, and uses Bruce Willis’s Hartigan and his relationship with Jessica Alba’s Nancy as bookends. Given just how successfully Rodriguez has captured the tone, look and spirit of Miller’s books — and by doing so provides echoes to the film noir that inspired them — one expects Sin City to be a home run. It’s not, quite: narrative disjointedness and thin characters (many of whom played by name actors you expect to see more of) keeps it from true masterpiece status. But visually, it’ll seep into your consciousness until you see silhouetted raindrops in your dreams. (Alliance Atlantis)

Oldboy - Dir. by Chan-wook Park
Already slated for a Hollywood remake, Oldboy is an elating Korean revenge thriller that takes only minutes to create one of the most psychologically damaging experiences imaginable. ...Read More
A Lot Like Love - Dir. by Nigel Cole
Bad Guy - Dir. by Kim Ki-duk
Clara et moi - Dir. by Arnaud Viard
D.E.B.S. - Dir. by Angela Robinson
Don't Move - Dir. by Sergio Castellitto
Downfall - Dir. by Oliver Hirschbiegel
Enron: The Smartest Guys in the Room - Dir. by Alex Gibney
Fever Pitch - Dir. by Bobby and Peter Farrelly
Gunner Palace - Dir. by Michael Tucker and Petra Epperlein
In My Country - Dir. by John Boorman
Look at Me - Dir. by Agnes Jaoui
Looking For Alexander - Dir. by Francis Leclerc
Melinda and Melinda - Dir. by Woody Allen
Sahara - Dir. by Breck Eisner
Saint Ralph - Dir. by Michael McGowan
The Amityville Horror - Dir. by Andrew Douglas
The Ballad of Jack and Rose - Dir. by Rebecca Miller
The Interpreter - Dir. by Sydney Pollack
Turtles Can Fly - Dir. by Bahman Ghobadi
Winter Solstice - Dir. by Josh Sternfeld
XXX: State of the Union - Dir. by Lee Tamahori
The deliberately lo-fi, yet earnest, split between Transit and Man Overboard sounds like the product of a bunch of friends growing up on punk and hardcore throughout the '90s. The hardcore leanings of Boston fivesome Transit lay the groundwork for the pop punk tendencies of the Jersey kids in Man Ov... Full Review
The term "videogame music" is often intended as an insult, deriding electronic beatscapes as rudimentary by comparing them to the 8-bit by necessity, bleep-based soundtracks of early Atari and Nintendo games. (See: Castles, Crystal) That Super Mario's theme music remains embedded in the frontal lobes of anyone under the age of 40 proves the critical weakness of the diss ― but it's also hopelessly archaic considering how much videogame music has evolved over the years.... Read More
Explosive and precise, Etaoin Shrdlu knowingly wink at the perception that their post-hardcore math rock musical approach might be a throwback while simultaneously contributing something vibrant to punk rock with Mating Calls. Featuring members of significant bands like Blake, I Can Put my Ar... Full Review
Social Networking
• Be our friend on MySpace
• Be our fan on Facebook
Tweet us on twitter
Viewing the April 2005 Issue: Contents PageNewsClick Hear • Articles --> On the Cover  •  Front Five  •  Points  •  Comics  •  Point of View  •  Questionnaire  •  Research  •  Timeline • Music Reviews --> Recently Reviewed  •  Aggressive Tendencies  •  Beats & Rhymes  •  Destination Out  •  Frequencies  •  Groove  •  Pop Rocks  •  Wood, Wires & Whiskey  •  Concert Reviews • Motion Reviews --> Recently Reviewed  •  Dvd Reviews  •  Film Reviews  •  Music DVD Reviews • Music School --> How To  •  Label Life  •  Meet & Greet  •  What I Play Contests • Contact --> About Us  • Advertising  • Distribution  • Getting Reviewed  • Getting Published  • Letters To The Editor  • Partnerships  • Subscriptions • Exclaim! Radio --> Aggressive Tendencies Radio  • Beats & Rhymes Radio  • Frequencies Radio  • Destination Out Radio  • Groove Radio  • No Future Radio  • Pop Rocks Radio  • Wood, Wires & Whiskey Radio Exclaim! TV • Home & Latest Issue Browse Issues