Written Review of Film- Journalist

Rating: 8/10 (2 April 2005)

If Frank Miller, writer of the Sin City graphic novels, was skeptic of Hollywood before Sin City, director Robert Rodriguez has relinquished those worries from him. Miller had sworn that a movie from his novels would never exist, after all how could a movie capture the depth and artistic side of the city he had created. And then Rodriguez approached Miller with a short film that showcased how the movie would be made.
The short film named The Customer is Always Right, featuring Josh Hartnett, is the opening scene of the soon to be, in my opinion, blockbuster Frank Miller's Sin City; a film that does not disappoint Miller's fans and those unfamiliar with him alike. Filmed entirely in front of a green screen with the backgrounds added in post-production the film offers the look and feel of a comic that has yet to be experienced.
The film is based in Basin City and offers the audience a look at the ruthless, the love and the hate that exists in this film-noir setting. The film is askew with violence, gore, dismemberment, and yet it is a sinfully artistic, and at points amusing, saga that houses three of Miller's stories.
To date probably the darkest, and excuse the pun again most cynical, film I have seen all year; although easy to say because it is only April. Miller, creator of the 1991 Sin City, and Rodriguez, Director of From Dusk Till Dawn, split the director's chair and even managed to give film violence king Quentin Tarantino some time in the seat.
To set the scene one would have to imagine a city where the citizens hardly see daylight, the cops are corrupt and prostitutes run their own town through consistent gun power keeping the gangsters away. Sleazy bars are home to the largest and toughest of men and even they still seem to take a beating. But they become harmless at the sight of the gorgeous women that plague the city and make it much too easy to fall in love.
Marv, as an example, played by Mickey Rourke is the largest of large who is thrown around by cars, spits blood with grin and still seems to dismantle three feet of concrete at ease becomes harmless once in the arms of a sultry lady of the town named Goldie. Goldie is found dead and the rest of the story Marv promises to, and succeeds to, draw "gallons and gallons of blood" in an attempt to find the killers.
There's the surprising love that keeps the one good cop in the city, John Hartigan, pushing for justice while on the brink of retirement. He fights through corrupt cops and highly connected citizens in an attempt to rescue an eleven year old girl from the dark grasps of the city.
The amazing visuals are not left alone but are supported by an assortment of mentionable performances. Rourke has found his best role as of late and Bruce Willis' presence offers his usual tough and tender performance. Benicio Del Toro, a jealous boyfriend named Jackie Boy, and the pleasantly creepy Elijah Wood as the psychopath Kevin gives the film the support it needs. The women are equally notable, including Jessica Alba as Hartigan's dream girl; Rosario Dawson as the gun-wielding hooker named Gail; Brittany Murphy as a street smart waitress who links all three stories; and Devon Aoki as Miho, the deadly sword wielding fighter that offers a Kill Bill worthy performance.
The stories are magical, and to some extent become hypnotic with characters that create a hybrid mix of a comic and a film. You might enjoy the lengths and the intricate detail that has perfectly transformed the stories of The Hard Goodbye, The Big Fat Kill and That Yellow Bastard or you may not. It is a matter of appreciating the success of the film and noting the historic heights that it has created for this genre of film and the work that directors have done to uncannily mirror the comics.