8:00 PM, 8th October, 2005
Frank Miller's graphic novels are dark and violent; and this movie has remained true to its source. Sin City was written and directed by Frank Miller and Robert Rodriguez and they have achieved what has been touted as the most faithful adaptation of a comic ever. Stylistically, the silvery black and white cinematography, with bold splashes of colour serves to maintain the feel of the original novels while providing an unusual movie experience. Frank Miller took great pains to ensure that scenes were accurate reproductions of his original artwork.
This movie has provoked some controversy and comparisons to Quentin Tarantino for its strong stylised violence. Like Tarantino's work, Sin City seems to be something that you either love or hate. For those concerned about the sexist tone - we are dealing with a cruel comic book world; you have to expect the female characters to be either strippers or prostitutes.
Sin City has a great cast including Bruce Willis, Jessica Alba, Rosario Dawson, Benicio del Toro, Clive Owen, Brittany Murphy and the creepiest Elijah Wood you ever did see.
Sin City is different, terrifyingly beautiful, and at worst you exit this incendiary film experience with something to talk about.
10:00 PM, 8th October, 2005
A London serial killer strangles each victim with a tie, which he leaves as a calling card. This being a Hitchcock film it's only a matter of time before someone else is suspected of his crimes; this time it's Richard (Finch), a sullen chap whose ex-wife is the latest victim. How many times has Hitchcock made a film out of this kind of mistaken-identity scenario? It depends how you count; a dozen or so, perhaps. But they're not all copies of one another, and this one is different from the rest: grimmer, with more explicit scenes, less glamorous characters, and a violent-tempered hero who comes closer to the brink of destruction; but pure Hitchcock nevertheless, lesser known only because he happened to make it in the 1970s when he was out of fashion. It's every bit as well crafted as his earlier work, and the suspense easily fulfils Hitchcock's lifelong credo: "Always make the audience suffer as much as possible." The sequence with the villain hiding in the potato truck is just as nerve-wracking whether you're like me, hoping he gets caught; or like most critics I've read, who watched the scene hoping he gets away with it.