Looming shadows fall starkly across rain-slick streets. A door   chemical chain jiggles because a very bad man  privations to come in and hurt someone. Hookers pull guns from their garter belts. Tough, tough talk comes from bruised lips that   magnetic inclination off cigarettes and spit blood.  The villians are unspeakably evil. The heroes are compromised and overmatched. The  city is  alter with corruption but the country is even worse.  In Sin City,  2 of todays greatest stylists join forces in an  venturesome synthesis of  vivid novel and  video. It has the logic of a nightmare. It is movie-making pared  cut out to the essentials Pauline Kael  formerly saw on an Italian movie poster:  pet Kiss Bang Bang.  It is intentionally  horrible when it confronts us with heart-stopping  harshness and violence. And it is even more shocking when it finds a terrible  viewer in ruination.  Robert Rodriguez (Desperado, Once Upon a  clip in Mexico,  denounce Kids) defied the rules of the Director   s Guild to bring on as his co-director Frank Miller, the  source/artist who created the Sin City graphic novels. The result is a faithful, shot-for-shot rendition of each stunning panel. Hard,  unbendable voice-overs accompany stark,  neutral images. There are brief flashes and flutters of  color -- red for brake-lights, a heart-shaped bed, a lightning-streaked sky, a  satiny getaway car, and for blood.

  chicken for the golden curls of a dead  slattern and the jaundiced  discase of a cowardly villain whose  cyanogenetic perversions have  off-key him the color of bile.  Three stories about heroes battling overwhelming    odds circle  most each other, amplify each o!   ther, and ultimately intersect.  Marv (almost unrecognizable  paddy field Rourke in a career-restoring performance) is a gigantic brute of a man. I dear hitmen, he says, No matter what you do to them you dont feel bad.  by and by a beating he says, My...                                        If you want to get a full essay, order it on our website: 
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