Today's News: Hateful Terminator captains

The end of the week witnessed news of a lesser magnitude:

Nieuwe foto's Tarantino's Hateful Eight

A colourful bunch of characters. A lot of guns. A batch of terrific actors. The prime ingredients of any Tarantino movie, and Hateful Eight proves no different, judging from these pictures. Though another Western, directly following Django Unchained (which may not wholly fit that moniker, it must be noted), this movie seems a whole different animal. It's got more principal characters, but less characters as a whole. It also seems limited in terms of setting, taking place for the most part in and around a stagecoach stopover during a heavy blizzard. Eight characters with divergent pasts, many haunted by their experiences in the recent American Civil War, get holed up together and soon tensions erupt with explosive results. And there you basically have the Western version of 12 Angry Men. As is usual for Tarantino, it's not a novel concept, but it's the way it's handled that makes it enjoyable and successful. And with such talent among the cast (and apparently Channing Tatum, too), it seems like little can go wrong in terms of quality. Same can't be said for these characters, most of them likely won't leave that cabin alive. Tarantino will put those guns to great use in making sure of that.

Meer Avengers in cast Captain America 3

Speaking of the Civil War, here's another conflict with the same name for you. Different time, different sides though. Should a masked man with a secret identity and an essentially dangerous set of superpowers take responsibility for his actions, or let the government do it for him? Iron Man says yay, Cap says nay. And thus the Marvel heroes are at each other's throats. Which heroes, you may ask? Well, from the looks of it, virtually all of them and then some. Basically all the Avengers from the previous film (that made it out alive at least) are returning, and a bunch of new names - like Ant-Man, Spider-Man and Black Panther - are thrown into the mix. You gotta have an ample batch of superheroes for a superhero war, after all. But why then, isn't this movie basically your Avengers 3? Isn't Cap A gonna get lost in his own film? There's two sides to the conflict and he's only representing one of them. I'm sure the powers-that-be take this into consideration and make the ideological questions at hand and the characters through which they are addressed the most, Cap and Iron Man, take centre stage. Which still means Iron Man is likely to assume a role at least as important as Cap's. Hey, that's what you get for not making an Iron Man 4. However, there's still a true bad guy to take out amidst all the superhero fisticuffs, and it's former Nazi Baron Zemo, one of the classic Cap villains. Surely that will tip the plot in Cap's favour, though not so much the stakes, if he has to fight both him and the government lackey Avengers. There's a reason Cap died at the end of the original Civil War storyline, you know...

Nieuwe posters Terminator Genisys

My first thought upon seeing these posters is they enlarged Emilia Clarke's breast size. That's gotta show how excited I am about seeing Ahnuld as the Terminator again. Sure, he made it into an iconic character back in the days, but in my mind Terminator Salvation showed you can have a decent Terminator flick without the Austrian Oak. Audience attendance for that movie disagreed with me. And now that Arnold's political career is over, he's back (yes, that line is impossible not to use in this context these days). The plot kinda helped him out in returning, crafting an alternate timeline to twist the old (and there's lots of that both in terms of characters and rehashed dialogue) into something new. Sarah Connor, Kyle Reese, T-800, T-1000, been there, done that. So now we get a T-3000 to provide the new action. I recognize an abandoned concept from Salvation in this character. A fiendishly sinister original ending shaped in a character, to be exact. Originally, Sam Worthington's character in the predecessor was gonna save the day and then unexpectedly kill off the good guys and take John Connor's place as resistance leader (basically with the intent to lead it to its doom). Too daring and dark, so they let it go for a more cheerful, positive resolution. Now the new model Terminator on the block assumes Connor's appearance, and possibly more than just that, as it's unclear from the trailers where its loyalties lie. Interesting to see this notion return in a different form. But thanks to the alternate timeline, basically every Terminator notion returns in a different form here. The oneliners stay the same though. We loved them then, why wouldn't we now, the studio likely assumes. Same thing as with Schwarzenegger.

It's raining news, hallelujah!

Comic-Con made sure there was plenty of news to post this last week. Here's some of my more recent contributions to MovieScene's ever growing archives:

http://www.moviescene.nl/p/156694/comic-con_laatste_concept_art_posters_avengers_2_

I already commented on these Avengers: Age of Ultron concept art posters before, so I'll skip that for these latest one-sheet releases, which finally complete the whole picture (see above). There's not much to say about these Hulk and Thor posters, as they add little of novelty value to the project as a whole. Save for the colour of the Hulk's pants maybe, which has finally traded in the dark blue of the previous movie for the iconic pink everybody associates with the character.

http://www.moviescene.nl/p/156693/comic-con_gunn_terug_voor_regie_guardians_of_the_galaxy_2

This too comes as little of a surprise considering the overwhelmingly positive feedback in prerelease and press showings for the Guardians' first adventure, set to debut worldwide in two weeks. Of course it will remain to be seen whether enough audiences will connect with this oddball intergalactic team of rogues to make Marvel the big bucks as the studio is now preparing for. However, since there's little else of consequence released in theaters this upcoming month, I think it's guaranteed this next entry in Marvel's Phase 2 will do tremendously well at the box office. Which only works in director James Gunn's favour. At this moment, Marvel will stick to directors who have proven their worth and can smoothly work with the studio without creative issues, considering the woes which have befallen Ant-Man's production of late after its director resigned, which continues to have serious ramifications for the project. Stability is now Marvel's prime concern, and when that aspect is paired with profit there's no reason why a capable director shouldn't be rehired to make the second installment turn out as good, if not better, than its predecessor. So go, Gunn!

http://www.moviescene.nl/p/156718/comic-con_toekomstige_tegenstanders_godzilla_bekend

It seems Gareth Edwards also aims for stability when it comes to his blockbuster success, the rebooted Godzilla. Fans praised the first film's take on the titular character, but proved less enthusiastic when it came to his antagonists, a pair of mutated prehistoric giant bugs invented solely for this film. They did their job serving as cannon fodder for the King of Monsters though, but now it's time to raise the bar. And what better way to do so than by also rebooting his classic gallery of adversaries? General audiences won't mind whatever creature gets hammered by the Big G (or the occasional vice versa), as long as they get enough bang for their bucks. If there's one thing Edwards showed with his first Godzilla feature, it's that he too is an avid fan of the original Japanese films. So it comes as little surprise that he opts to reintroduce everybody's favorite Godzilla enemies: the mythical giant bug Mothra, the humongous Pterodactyl Rodan (both characters got their own movies too back in the days) and last but not least, Gojira's prima nemesis, the three headed armoured space dragon King Ghidorah. Hopefully Edwards won't play all his cards all at once, but distributes the dose of retro monsters a bit evenly for the already announced pair of sequels, so as to prevent Kaiju overkill in Godzilla 2. As superhero movies have showed of late, there's such a thing as too many cool characters in a single film making a mess of the story. Of course, the Godzilla movies are all about characters making a mess of things while the story is subservient to such rampage, but it can't hurt to save your strongest assets for later.

http://www.moviescene.nl/p/156717/comic-con_kong_wederom_king

And with the renewed interest in giant monsters comes word that Hollywood doesn't mean to keep that other royal creature dead for long. King Kong too will soon be seen again on the big screen where he belongs, but not in another remake. Which is a good thing, as the last one was produced less than a decade ago and proved to be quite a memorable rehash compared to most of them, so there wouldn't be a need to retell that classic Beauty and the Beast tale just yet. So it seems a prequel is the route the studio chooses, which is also not the most exciting notion to my mind. Do we need to know how Kong became King of Skull Island? It kinda seems a given: it's survival of the fittest and Kong fits that description best, killing every sinister subject that defies his will. There doesn't seem to be much more to it. Of course you can introduce another group of people stumbling on the island and exploring its monster infested interior, getting into conflict with the giant gorilla. Heck, you could even throw another pretty girl into the mix. The result would be predictable though, as we all know how Kong came to his eventual demise, and we never cared as much about the human characters' plight as we did about the ape's. Even though I loved the various incarnations of Skull Island (as I'm a big sucker for monster movies), this project makes me hesitant. That said, it's produced by the same studio - not Peter Jackson's - as the current Godzilla franchise is. Do I smell a potential crossover here?

http://www.moviescene.nl/p/156733/comic-con_trailer_the_hobbit_the_battle_of_the_five_armies

Speaking of Peter Jackson, he too has a little franchise in the works, and it is coming to an end. A dramatic and emotionally charged end, the new trailer would seem to indicate. Not to mention epic. Needless to say this trailer got me super stoked for the final Hobbit film, which I already was to begin with (yay, Hollywood hype effectively working its magic for five more months!). Parallells with that other closing chapter of a Middle-Earth movie trilogy were bound to be drawn, and the trailer capitalizes on that sentiment by adding just another link with PJ's Lord of the Rings films in the shape of Pippin's tearjerking Home is Behind song playing over the imagery. It's a nice touch, though it hammers the point home harder than might be wise. Nevertheless, what's to dislike in this trailer? Big battles, a giant dragon (bound to be killed off in the first 20 minutes of the film due to the way the book is adapted, but still), all kinds of intriguing cultures and creatures clashing and a top cast bringing it all to life. As I'm not a Tolkien purist, I won't complain about some of the additions the writers made to the story, like that car chase over ice. Keeps some surprises to the whole if you already read the book. But what do we have to look forward to when it's all over? When Lord of the Rings ended, we had The Hobbit still to come (though that took nine effing years!). But could this truly be the end of our cinematic adventures in Middle-Earth? What do we do with ourselves then?

http://www.moviescene.nl/p/156732/comic-con_tarantino_bevestigt_tweede_poging_hateful_eight

I knew it! You don't brisquely cancel a whole movie, pre-production already in progress, just because someone leaks a script. Screenplays get leaked online all the time. When any movie hits theaters, few people lack the chance to get to look the whole story up on the Internet if they so choose. Which most folks don't, because they want to see it in theaters anyway. When Tarantino first scrapped the project, he stated he might publish it in book form. That would have been the true waste, as we already have a downloadable written version of this story online thanks to that leak. But in Tarantino's case, it's the filmed version we want. Why read that book if the alternative is another one of his expertly written motion pictures starring a great cast determined to make it work? So it was a given Tarantino would decide to make that film sooner rather than later after all. Which makes me wonder whether his whole tantrum about the affair, or even the affair itself, wasn't just some big publicity stunt to create public awareness and interest for The Hateful Eight. Maybe it was just a hateful Tarantino getting in the right mood to direct the project.

Today's Double News: can't hate this behind the scenes video

Two more bits of news I posted on MS yesterday:

http://www.moviescene.nl/p/153580/tarantino_maakt_mogelijk_alsnog_hateful_eight

http://www.moviescene.nl/p/153579/nieuwe_blik_achter_de_schermen_game_of_thrones

So Game of Thrones has a new production designer. Considering the stunning design of the sets of the first three seasons, that's a tough act to follow. From the looks of it, Debbie Riley seems up to the task, as the new sets (as well as new versions of several locations used prior, including the Eyrie) look equally grand as those that came before. At least, so it appears from this short puff piece video. Of course, the grandeur and beauty of the sets not withstanding, it's the actors which make them come alive, and what we want to see most is which of our beloved characters - the ones that yet live, that is - will return next season. Apart from that, first glimpses of new characters are also most welcome. The preview this little behind-the-scenes clip offers introduces another new character, namely Tycho Nestoris of the Iron Bank of Braavos, played by Mark Gatiss. That's one more down. No other new faces here, but fan favourites including Daenerys, Brienne, the Hound, Arya and Cersei Lannister still appear very much alive. For a moment longer at least, you know how this show works... characters come and go, but at least we'll always have fabulous production design.

And surprise, surprise: Tarantino may be reconsidering dropping The Hateful Eight. I was sorta expecting him to. You don't shelve a project that fast just because someone leaked a script. Scripts get leaked all the time. You do some damage control, but you don't throw out the project completely. How many members in the audience actually bother to read scripts? Even if some people know the story and post it online, the vast majority will still be surprised by the finished movie. Better yet, you can slip in some sneaky rewrites to catch those who spoiled themselves off-guard. Folks in the industry will know better than to leak Tarantino again now, since even though The Hateful Eight might still end up on the big screen despite what we first heard, I bet the lawsuits (all-American style sueing!) this hateful Tarantino is preparing will not be abandoned so easily. Let that be a lesson for those who spoil things for others!

Movies gone by: when will it end...

Here's some more mini-reviews of movies I failed to review before due to technical difficulties. Meanwhile, I still see more films every week so it's piling up fast. Hopefully, I can still find time to finish this catching-up and get back to regular reviewing. Next week will be busy for me though (regular work, press viewing, dentist appointment, shipping out many parcels full of sold Jurassic Park figures, etc.), so that remains to be seen. Fingers crossed, no promises.

Hyde Park on Hudson: ***/*****, or 6/10.

The historic first visit of English royalty to the United States in 1939 immortalized on film, seen through the eyes of President Roosevelt's distant cousin Margaret (played by Laura Linney), with whom he had an uneasy semi-secret affair. Equally uneasy is the first meeting between Mr. President (a formidable Bill Murray) and the King and Queen of Britain (a sympathetic and convincingly 'just crowned' Samuel West and Olivia Colman), the latter pair being completely uncomfortable with the American way of life, but in need of winning over the American public to support the Brits in the apparently unavoidable upcoming war with Germany. The ultimate message: they're all normal human beings with their own failings and strengths so why not be friends? Putting human faces on historical characters of such stature is what this film does best, resulting in both hilarious confrontations – my favorite: the King waving at American farmers in the distance for lack of other people to wave at, only to be completely ignored – and genuinely compelling emotional moments, but it's also a weakness: these people behave all too human, thus making for a fair share of dull moments that compromise the film's progress as the characters engage in routine human behavior. The plot regarding FDR and his hidden mistress also gets in the way as it gears towards a predictable clash between both personalities over the exact nature of their affiliation that lacks full audience engagement. Overall, this is a real 'hit and miss' movie, but the thrill of seeing historical characters bicker and argue about whether or not to eat hot dogs due to their political nature demands at least one watch. My ex-history teacher, who was sitting in the audience when I was running the film at the local arthouse theatre, seemed to agree with this assessment: glad to know I learned some things from him back in my high school days.

Life of Pi: ****/*****, or 8/10.

Grand tale of survival, man “versus” beast, the importance of hope and the personal nature of religious beliefs, which won Ang Lee the 'Best Director' Academy Award. A man from India named Pi (Irrfan Khan) tells his life's tale: growing up in a zoo, ultimately moving the whole animal circus to America as a boy, only to lose everything (including his family) in a tropical storm at sea. Stranded on a life boat, the young man (now played by Suraj Sharma) has to contend with the only other survivor, an adult tiger named Richard Parker (created by a fabulous mix between CGI and the real deal, the two blending in so seemlessly that few people can tell the difference: a VFX Oscar well earned!). Stuck with each other for months on end on the ocean desert, Pi recalls their various encounters, the good, the bad and the bizarre, with the message that no matter how bleak things seem, there's always something to enjoy about the circumstances life has in store for you. Lee serves this viewpoint from an atypical religious angle that celebrates the good in religion by allowing Pi to take the best elements of various religious belief systems and appropriating it to form his own feel-good personal religion. The surprising result (for hardcore atheists like myself at least) is that, despite the fact Pi opens his story with the line 'I will tell you a story that will make you believe in God', the movie is never to be considered a pamphlet to convert anyone to any organized faith, but a call for total individualist religious freedom, to belief in whatever you want to belief to make the world work better for yourself. And so, despite having lost his family at sea and having to take care not to be eaten every day, Pi cannot help but marvel at life's grandeur, as he witnesses splendid sights seen by few, including a whale feasting on phosphorescent plankton at night, a carnivorous island populated only by meercats and eventual mutual survival for Richard and himself against all odds. As is expected from Ang Lee, such a colourful tale comes with his typical ingeniously rich visual imagery, leading to many breathtaking and haunting shots ('Best Cinematography' too), made all the more effective by its grandiose use of 3D technology: hence, watching this film in 2D is like listening to music with your ears closed.

Gangster Squad: ***/*****, or 6/10.

Period crime flick set in late Fourties' Los Angeles, loosely based on historical events. When the city suffers under the regime of ruthless crime boss Mickey Cohen (unusual but effective role for Sean Penn), who rules through intimidation and corruption, a few clean cops form an equally uncompromising (i.e., violent) 'gangster squad' to rid the town of Cohen and his consorts by any means necessary. Under the command of Josh Brolin, these badgeless law enforcers hit Cohen as hard as they can in any which way they can think of, showing no mercy at all. An all-out war between both parties is the predictable result, while a rather forced love relationship is established between cop Ryan Gosling and Cohen's mistress Emma Stone, to complicate matters romantically (and needlessly too). All in all, a solid action flick devoid of surprises, but delivering everything you would expect (which is both meant positively and negatively). Originally scheduled to be released a good six months earlier, a shootout scene in a movie theater needed to be altered due to the Aurora 'Dark Knight Rises' incident: some footage of the original scene can still be found in trailers all over the Internet though. The most interesting thing about this film is the fact it's a direct prequel to the far superior period thriller/'film noir' LA Confidential (1997), which details what happened after Cohen's historical downfall and outmatches Gangster Squad in almost every respect (except for the explicit violence).

Django Unchained: ****/*****, or 8/10.

Hailed as 'Tarantino's latest masterpiece' well in advance of its actual release, this movie reaffirms Tarantino excels in taking an established film genre and dipping it in his usual sauce of violence, a catching soundtrack and memorable oneliners. Though it's safe to say the man ought to resort to other tactics soon before it backfires on him, it cannot be denied Django Unchained is a great, thoroughly entertaining film. Chronicling the rise to freedom of former slave Django (a stern Jamie Foxx) by the grace of bounty hunter Dr. Schultz (Christoph Waltz, who won his second Oscar by repeating himself for a Tarantino film, except playing a good guy this time around), the movie witnesses Django, striking a deal with the man, becoming his sidekick as the two track down his wife Broomhilda (Kerry Washington), who is now in the service of the wealthy southern slaver Calvin Candie (Leonardo DiCaprio, both surprisingly charming and wickedly discomforting). Figuring out an elaborate scheme to get his wife back, Django soon finds out more violent solutions are in order to reach his goal. The no-no word 'nigger' can be heard a whopping 107 times, to the acknowledgment of its historical use but to the predictable shock of conservative America: accordingly, action figures of characters from this film were promptly taken off shelves to avoid controversy in stores, but the ridiculous debate about the use of such sensitivewords rages on. Apparently quality television shows like Deadwood get away with it, but a much anticipated flick like this gets marred in political debate for applying the same tactics. A wonderfully intertextual neo-western, the film is laced with references to past westerns, both the undying classics and the more obscure fare, as is Tarantino's forte. The (this time hidden) movie babbling fortunately doesn't get in the way of plot and character development, as it did in Death Proof and tended to do in Inglourious Basterds. Tarantino gets away with his proven routine again, for now: it would be nice to see him tackle something wholly new for a change though.

Sin City

Rating: *****/*****, or 10/10

Stad der Zonde blijkt geslaagd kunstwerk

Wat is de beste manier om een graphic novel succesvol naar het witte doek te vertalen? Waar sommige regisseurs een geheel eigen draai aan het bronmateriaal geven en het eindproduct vervolgens geenszins meer lijkt op het originele werk, ondanks de behouden kwaliteit, is er ook de compleet tegenovergestelde methode: het beeld-voor-beeld omzetten van plaatje naar shot. Robert Rodriguez gebruikte deze drastische methode bij zijn bewerking van Frank Millers klassieke 'Sin City'. En verdomd, het werkt! En dat is nog een understatement...

Nadat hij in de jaren tachtig het respect voor doorsnee comics terugbracht met zijn werk in de 'Daredevil'-reeks en het magistrale 'Batman: The Dark Knight Returns' begaf Miller zich begin jaren negentig definitief op het terrein van de 'graphic novel', getekend literair hoogstaand werk dat absoluut verschilt van de laatdunkende term 'strips' waarmee het nog te vaak in associatie gebracht wordt. Millers Sin City vormt een hommage aan de 'film noir' Hollywoodfilms van de dertiger jaren, en handelt over de stad Basin City, een verdorven Sodom en Gomorra vol met hardhandige vigilantes, 'femme fatales' en moordlustige psychopaten. De diverse verhalen vertellen over enkele stoere rouwdouwers die op hun eigen (gewelddadige) wijze nog een beetje orde en gerechtigheid in het door God verlaten oord handhaven, getoond in een grotendeels zwart/witte tekenstijl met hier en daar een mopje kleur.

Regisseur Rodriguez, die furore maakte met zowel hardcore actiefilms (Desperado, From Dusk Till Dawn) als films voor de hele familie (Spy Kids) toont zich in zijn bewerking een devote liefhebber van Millers magnum opus te zijn, door elke pagina, ieder plaatje, volledig te respecteren en liefdevol naar het grote scherm te verplaatsen, en daarbij zelden af te wijken van hoe Miller het voor ogen had. Dit is niet merkwaardig, aangezien hij Miller zelf als co-regisseur inschakelde om Sin City zoveel mogelijk recht te doen. Alsof twee regisseurs nog niet genoeg is draaft ook Quentin Tarantino, wiens eigen films geheel in het straatje van Sin City passen, op als gastregisseur van een enkele scène. Met dergelijk talent achter de camera is het niet vreemd dat Sin City een op alle fronten geslaagde bioscoop-ervaring is geworden.

Het eindresultaat bestaat uit vier afzonderlijke verhalen die elkaar slechts sporadisch kruisen. De geharde anti-held Marv (een uitstekende comeback van Mickey Rourke die de laatste jaren nauwelijks nog serieus te nemen viel) jaagt op de moordenaar van het hoertje Goldie (Jaime King) dat hem de beste nacht van zijn leven gunde. Een opgejaagde vrouw schakelt een huurmoordenaar (een zwoele Josh Hartnett) in voor haar zelfdoding. De sluwe Dwight (Clive Owen) schiet de prostituees van de Stad der Zonde te hulp als zij uit zelfverdediging een politieagent (een bijzonder hufterige Benicio del Toro) hebben gedood. En de laatste eerlijke agent Hartigan (de altijd betrouwbare actieheld Bruce Willis) verlaat na acht jaar de gevangenis om zijn laatste onopgeloste zaak af te ronden en een jongedame (een wulpse Jessica Alba) uit de klauwen van een gestoorde verkrachter (glansrol voor Nick Stahl) te houden. Vier verhalen die samen één film vormen, een geheel dat nooit saai wordt dankzij het grote aantal markante personages (inclusief het overschot aan bekende namen in de cast), de zinderende actiescènes en vooral de schitterende en ongeëvenaarde stijl die de film een compleet eigen karakter geeft.

Want hoewel de verhaallijnen zelf absoluut niet teleurstellen, maakt Sin City er geen geheim voor presentatie boven inhoud te verkiezen. Zoals de artiest Frank Miller elke bladzijde van de graphic novel tot een stilistisch meesterwerk tekende, zo transformeert diens discipel Rodriguez letterlijk Millers visie trouw naar bewegend beeld. Het ene na het andere fantastisch gecomponeerde shot volgt elkaar in dynamisch tempo op, alsof de camera het bronmateriaal zelf registreert. Het gehalte zwart/wit voelt sterk aan als een typische 'film noir' klassieker, ondanks het steeds terugkerende minimalistisch kleurenspel. De kunst van de graphic novel blijft zodanig intact en zelfs verbeterd in Rodriguez' liefdevolle adaptatie: een blauwe auto in een grauwe stroom verkeer, een rode das in een donker steegje, een gele engerd die zijn zoveelste hulpeloze slachtoffer naar het leven staat... Het kleurenpalet van Sin City leidt een geheel eigen leven, en blijft niet alleen van begin tot eind de sfeer bepalen, maar ook de hele film door fascineren. De filmversie van Sin City blijkt evenzeer geslaagde kunst als Millers originele werk dat destijds was (en nog steeds is).

En laten we vooral de vele liters bloed, nu wit, dan weer rood op de kleurloze achtergrond niet vergeten. Want de zondige stad en haar sinistere inwoners bieden ook een keur aan excessief geweld, wat volledig in de sfeer van de film past. Tijdens Marv's wraakactie snijdt hij de ledematen van een man af en voert hem vervolgens aan zijn hond. Hartigan slaat een maniak letterlijk tot pulp na hem met blote handen ontmand te hebben. Het klinkt allemaal extreem gruwelijk, maar is zo stilistisch, soms zelfs cartoonesk, in beeld gebracht dat het de pret niet kan drukken en een geaccepteerd onderdeel van de film vormt. Immers, in de Stad der Zonde zijn zulke praktijken aan de orde van de dag.

Sin City is zonder twijfel één van de meest geslaagde graphic novel verfilmingen tot nu toe, zowel in haar vertaling van boek naar film als in de kwaliteit van de film an sich. Het predicaat 'visuele kunst' misstaat absoluut niet, terwijl de film bovendien een zeer onderhoudende actiefilm is met een dynamisch tempo, een cast van louter grote namen in topvorm en de nodige toepasselijke zwarte humor. Waar collegae als Alan Moore hun werk verminkt zagen worden door de harteloze filmindustrie mag Frank Miller zich gelukkig prijzen met een talentvolle regisseur als Robert Rodriguez die bewijst diens originele werk de volledige eer te bewijzen door dit om te zetten in een film die meer Millers stempel drukt dan zijn eigen. Of een dergelijke situatie zich in de toekomst voor zal doen bij vergelijkbare graphic novel adaptaties valt nog te bezien, maar naar het al aangekondigde Sin City 2 kan, ook door Miller zelf, terecht reikhalzend uitgekeken worden.