Glorified violence becomes glorious violence

Rating: 6/10 (26 June 2005)

Yep, it's undeniably stylish, and surely it will be remembered, venerated for a while for its originality. But past the avant-garde beauty, of which the novelty does unfortunately wear off a few scenes into the film, there is not a lot to commend. You may be nodding appreciatively over the grey scale glamour of Sin City for two hours, in which case, great. On the other hand its veneer may stop amusing you once you've decided to start following the plot, in which case you're screwed for the remaining hour and a half. Sin City is wonderful in concept, every frame is eye-candy, but subject to a whole reel's worth of these frames the sweetness becomes a little sickly. The story serves mainly just to show off the capabilities of the camera, presenting itself as a series of anecdotal incidents that ultimately come to nothing. Had the film been shot in colour, it would be valueless, a minor blockbuster that showcases ultra-violence for cheap kicks, that gently stirs your appetite before the main course of the big summer blockbusters. It is the inspiration of designing this film to feel just like a comic that dignifies the plot and the shameless violence. In the name of art it feels perfectly natural to accept virile vengeance-seekers with a yen for castration and armies of gun-slinging prostitutes- you might even find yourself happily embracing all the action even if normally you'd make a point of looking decidedly disinterested to protect your dignity. Watch it and work out for yourself whether you like what the world is coming to.