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Review Roundup: SIN CITY: A DAME TO KILL FOR Brings Noir Grit Back to the Big Screen
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|BWW Review: SIN CITY: A DAME TO KILL FOR Is Paint By Numbers Disappointment|
August 22, 2014
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August 21, 2014
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Co-directors Robert Rodriguez and Frank Miller reunite to bring Miller's visually stunning "Sin City" graphic novels back to the screen in SIN CITY: A DAME TO KILL FOR. The film hits theaters today, August 22nd.
Weaving together two of Miller's classic stories with new tales, the town's most hard boiled citizens cross paths with some of its more reviled inhabitants. SIN CITY: A DAME TO KILL FOR is the follow up to Rodriguez and Miller's 2005 groundbreaking film, FRANK MILLER'S SIN CITY.
The film stars Eva Green, Joseph Gordon-Levitt, Jessica Alba, Juno Temple, Josh Brolin, Jaime King, Rosario Dawson, Mickey Rourke, Jamie Chung, Lady Gaga, and Christopher Meloni.
Let's see what the critics had to say...
Matt Tamanini, BroadwayWorld.com: ...this listless sequel provides none of the awe-inspiring spectacle of its far superior original. Again directed by both Robert Rodriguez and Frank Miller, who co-helmed the first "Sin City," the script (by Miller) is similar in structure to the original, but never even approaches the creative success that you so desperately want from it. Instead it seems like a rather vanilla paint-by-numbers retread, in which the creative team avoided nearly all color literal and figurative...The four separate, but somewhat overlapping, tales do little to create any true investment in their characters. Whether they are motivated by revenge, love, or loss, none of the characters comes near earning any sympathy.
Jeannette Catsoulis, The New York Times: Little has changed, except perhaps that the novelty has worn off. In "Frank Miller's Sin City: A Dame to Kill For," the dudes are still damaged, the dames remain deadly, and the neo-noir aesthetic still possesses an assaultive force. That's one reason the sequel's addition of 3-D is not just unnecessary but counterproductive; the original film's digital images, painstakingly photographed by Robert Rodriguez...already delivered impressive depth and density. Without any visible benefit...this new dimensional tweak serves only to scramble scale.
Betsy Sharkey, LA Times: The greatest sin of "Frank Miller's Sin City: A Dame to Kill For" is the way its high style is brought low -- visually stunning but emotionally vapid, unrelentingly violent, its splendiferous comic book cast mostly squandered. It's the very speed at which something so artful in design, so ironic in idea, turns so tedious that is so nettling...The melodrama is florid beyond belief -- and without relief -- marked by a sort of noir-drenched jingoistic lingo that has you laughing at how far this bad apple has fallen from the Mickey Spillane and Raymond Chandler tree. Rather than another groundbreaker, "A Dame to Kill For" is one more poser trying to be performance art.
Claudia Puig, USA Today: This vapid sequel to 2005's Sin City follows the previous collaboration of co-directors Robert Rodriguez and comic-book writer/graphic-novelist Frank Miller. Based on Miller's works, Dame (** out four; rated R; opens Friday nationwide) is as hard-boiled, gory, garish and violent as the original. Bullets spray and blood splatters early and often. But it's hard to care what happens to anybody, since most of the characters feel like computer-generated versions of themselves, and their stories mingle without purpose. Dame has a dull, episodic feel, with hyperviolent vignettes coming off as choppy rather than knit together in a coherent narrative.
David Blaustein, ABC News: All of the performances are fine and the decision to go 3-D keeps the visuals tantalizing, but "Sin City: A Dame to Kill For" would've been considerably more entertaining had it been a music video or video game. The through-line connecting all of these stories is tenuous, at best, and the violence soon becomes boring, simply because we never care enough about these characters to give a lick what happens to them.
Todd McCarthy, The Hollywood Reporter: Pulp and noir were often built on the beautiful shoulders of such characters as Ava, and the main justification for seeing the film is to watch Eva Green claim membership in the pantheon of film noir leading ladies alongside Jane Greer, Gloria Grahame, Marie Windsor, Peggy Cummings,Lizabeth Scott and a few others...But the big problem here is the sameness of the material throughout, the one-note tone. Every scene is given the same weight -- there's no modulation, no sense of drama beyond mannered posturing, a feeling that the whole enterprise is about capturing a retro look and attitude and nothing else. The lack of any substance at all is what makes the Sin City franchise feel cheap, in the end.
Justin Chang, Variety: It may be in 3D this time around, but Robert Rodriguez and Frank Miller's monotone, monochrome comicbook universe feels flatter than ever in "Sin City: A Dame to Kill For." Rare indeed is the movie that features this many bared breasts, pummeled crotches and severed noggins and still leaves you checking your watch every 10 minutes. But that's the dubious accomplishment of this visually arresting but grimly repetitive exercise in style, set against a sordid neo-noir landscape populated almost exclusively by tormented tough guys and femme-fatale fetish objects.
Joe Neumaier, New York Daily News: The sequel to one of the most visually striking movies of the last 10 years continues the graphic novel-inspired landscape of its predecessor. But the characters don't click, and the action feels dull...Everyone also gets their own silly hardboiled voice-over. Directors Robert Rodriguez and Frank Miller are just transplanting the voice of Miller's "Sin City" graphic novels. But the sound soon drones in our ears, just as the semi-animated black-and-white visuals begin to feel dull. The bits of color (green eyes, yellow flames, red blood) have no logic but look cool. For a short while, puffed-chest pronouncements have pizzazz. Then the movie gets antsy, since comic-book iconography and attitude take things only so far.