I am surprised that no one commented at this movie yet, in its genre (Neo-noir, a movie set in the 1940s or 1950s but with updated themes, content, style and technology) this is by far the best movie till date.

The movie has 3 short stories taken from the comics of Frank Miller (the same guy who wrote the movie 300 and RoboCop 2 and 3). The stories although all seperate are interwoven with each other. And every one of them is a work of art.

They all take place in the same place: Sin City. Sin City is a city corrupt to the bone. Senator Roark said it best, if he killed Hartigan (Bruce Willes from the first story "That Yellow Bastard") right there in that busy hospital no one would arrest him, everyone would lie for him to cover their own set of lies and deceit. If not, everything would fall like a deck of cards.

Everything in this movie works perfectly. From Rodriguez's editing and cinematography to the spot on casting. The main cast Bruce Willis, Mickey Rourke and Clive Owen narrate the story in a style that makes it essential for the movie to work. Many times especially in case of Marv (a almost unrecognizable Mickey Rourke) it explains a lot of things and his psyche. I especially liked the one liners that this movie has to many to count off. It really gives off a vibe that this is one of those old defective movies from the 1940s and 1950s.

Sin City is dark, sexy, funny, exciting and a fast-paced action/crime thriller. There is a reason that this is R rated, without a doubt its one of the most violent and graphic blockbusters that has been released to a wide audience. I can highly recommend this movie to anyone (no kids though, they will definitely get nightmares for days), if you haven't seen it already go rent it, buy it or download it off the internet. You won't regret it.

Comic book legend Frank Miller snags an anthology-style feature film (and a co-director's chair) for his grim, noir-soaked passion project. Back in the 1990s, Miller used _Sin City_'s contrast-rich visual style and crusty, x-rated subject matter to push the print medium to its limits. Now, with a similarly passionate, fringe-dwelling filmmaker along for the ride (that being Robert Rodriguez, he of _Grindhouse_ and _Desperado_ fame), he's placed himself in a great position to do the same for the silver screen.

In certain respects, the _Sin City_ movie does everything it sets out to. It's gritty, edgy and cocksure. It's stuffed with big-name actors, playing roles that fit like a tight set of dark leather gloves. It's moody and violent, vulgar and cynical. With the exception of the aforementioned source material, nothing in the world looks like this. Start to finish, the whole film is a continuous rush of flavor and texture; a towering showcase of dynamic art direction and reckless digital risk-taking. Not every daring visual exercise pays off - a majority of the character interactions obviously involve actors on different sound stages - but I can admire the ambition behind sinking so much budget into what's effectively a million-dollar VFX demo reel.

That pervasive sense of style demands the whole spotlight, which is probably just as well because most of the writing (particularly the dialogue) doesn't make a smooth transition from page to screen. It's one thing to pay homage to the crime epics of old, something laudable and nostalgic, but _Sin City_ carries that sleeve-worn admiration so far over the top, it can feel like a parody. The wife and I shared more than a few sidelong glances, scoffs and smirks as this one played out. Did they seriously just say that with a straight face? What's our tally of crippling groin injuries up to now? Its tendency to play fast and loose with the laws of gravity and physical vulnerability is another problem. In print, the space in-between panels affords us some essential creative license and smooths over such fuzziness. But there's no similar space to hide on the screen, just awkward transitions and mood-souring missteps.

Energetic, well-intentioned and bursting with creativity, _Sin City_'s optics are betrayed by a script that badly needed a once-over by somebody outside the brain trust. Perversely entertaining; sometimes in good ways, sometimes in bad.

Visceral, Visionary, Visual, Sin City kicks the big un!

Three grizzled stories from Basin City comprise the basis for Robert Rodriguez's adaptation of Frank Miller's graphic novels (Miller along for co-directing duties as well). Man mountain Marv is out to avenge a murdered hooker, Dwight attempts to help the red light girls stay independent from the mob, and aging cop Hartigan is trying to protect a beautiful dancer from a sadistic pervert.

I think the first thing I should say is that I have no frame of reference as regards the adaptation here, I have never read (or seen) a Frank Miller story, but from what I can gather from the IMDb site is that fans of Miller's graphic stories were well pleased with the final result. I'm pleased to see that, because too many times comic book adaptations are roundly panned by the hard core fan base of each respective franchise for not being close to the spirit of the source, so here I'm doubly relieved mainly because I find Sin City to be a majestic assault on the senses.

Sin City is a stark place, full of seedy residents thriving on misery and mistrust, and here we are privy to three stories that only serve to remind us that we don't want to be anywhere near the place. Playing out as some sort of horror comic noir, Sin City is for sure a very violent picture, yet the violence is formed so perfectly in its style, it cloaks the film in artistic class. Once viewed, Sin City is never forgotten, and I for one literally do tip my hat towards Frank Miller & Robert Rodriguez for bringing such a great and interesting movie to the masses. All of the cast do great work, so I'll not single anyone out for praise, the techniques and the whole structure of the piece is quite simply marvellous, and as for the writing? Well get a load of it!

Sin City, a dark horrible place, Sin City, a wonderful wonderful movie. 9/10