Sin City

Cast View all

	Bruce Willis	Hartigan
	Elijah Wood	Kevin
	Rosario Dawson	Gail
	Michael Madsen	Bob
	Carla Gugino	Lucille
	Mickey Rourke	Marv
	Tommy Flanagan	Brian
	Clive Owen	Dwight
	Rutger Hauer	Cardinal Roark
	Nick Offerman	Shlubb
	Jessica Alba	Nancy
	Jude Ciccolella	Liebowitz
	Jason Douglas	Hitman
	Josh Hartnett	The Man
	Powers Boothe	Senator Roark
	Nicky Katt	Stuka
	Jaime King	Goldie/Wendy
	Marley Shelton	The Customer
	Brittany Murphy	Shellie
	Randal Reeder	Man w/Hitman
	Clark Middleton	Schutz
	Rick Gomez	Klump
	Nick Stahl	Roark Jr./Yellow Bastard
	Alexis Bledel	Becky
	Makenzie Vega	Nancy

Crew View all

Director	Frank Miller
	Quentin Tarantino
Robert Rodriguez
Writer	Frank Miller, Robert Rodriguez
Producer	Elizabeth Avellan, Bill Scott, Bob Weinstein, Harvey Weinstein
Musician	John Debney, Graeme Revell, Robert Rodriguez
Photography	Robert Rodriguez

Trailer

Edition details

Personal

Notes

Bought at comic shop in Putnam
Aug. 6, 2017 with Nick, Beth and Gail (after their Ferrari driving)

Story Synopsis:
You will never be able to find more police corruption, gang terror, and sleaze than in a lousy town like Sin City, as several stories are interweaved involving a lot of bad people and even more bad places. A creepy pedophile whose kill was thwarted by ex-cop Hartigan (Willis) returns to finish the job eight years later, using Hartigan to try and bait the girl-skinny little Nancy (Alba), a 19-year-old stripper, who is quite possibly the nicest person in Sin City. Then there’s gladiator-like Marv (Rourke)-the roughest, toughest lug in town-framed for a murder and out to avenge the death of Goldie (King), the only dame who was ever kind to him. His search will take him to the foulest location in the city-a place known as The Farm-where a silent killer (Wood) with a creepy fetish deserves to die in a hard way. Finally, a corrupt cop by the name of Jackie Boy (Del Toro) has a run-in with Dwight (Owen) and the streetwise ladies of Old Town Sin City, led by Gail (Dawson). Based on the Sin City graphic novels by Frank Miller; a sequel is planned for 2006. (Suzanne Hodges)

DVD Picture:
If ever there was a movie that could be compared shot-by-shot to the pages of a comic book, this would be it. With scenes adapted straight from panels in the original Sin City comics, the anamorphically enhanced 1.82:1 DVD picture delivers pure visual excitement. The picture is mostly comprised of high contrast black-and-white imagery, with endless blacks and bright whites, and a gray scale that offers a perfect gradation between the two extremes. Spot colors accent details like Goldie’s golden locks, Becky’s blue eyes, and Yellow Bastard’s putrid skin. You will notice a touch of amber in the prescription bottle as Marv dumps pills down his throat or scenes that offer a slight monochromatic tobacco stain that provide a bit of western warmth to Kadie’s saloon. The more you watch, the more you revel in the sights that accompany the storytelling. While there may be a bit of pixelization here and there, the bit rate often stays well above average and compression artifacts are limited. Edge enhancement is not a problem with this title. (Suzanne Hodges)

Soundtrack:
A strange shuffling distortion can be heard in the dialogue throughout the film, which really takes away from the experience the Dolby® Digital 5.1-channel soundtrack is meant to provide. Dialogue and narration are separated by a forwardness given to the narration, achieved by using all three front screen channels heavily. Narration is recorded rather well, with superb articulation, but dialogue often sounds unnatural and distorted. A tinny reverberation can be heard throughout the film when subjects talk. Surrounds are typically only used as an extension of the front main channels, without any real distinction. Off-screen action is mixed well over the front stage, which, unfortunately, does not make its way to the surrounds often. Dialogue sounds noticeably more refined in the DTS track, but the same shuffling and tinniness can be heard in it. The entire soundtrack features a solid use of the lower frequency echelon, with a good use of the LFE channel, but the majority of the soundtrack is front three screen channel dependent. (Danny Richelieu)

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