This is blood for blood and by the gallons. This is the old days, the bad days, the all or nothing days. They’re back!
Marv, Sin City

Nothing better can sum up the premise of fan boy Robert Rodriguez’s latest film foray. Such is his devotion to this work that he gave up his Director’s Guild membership to have non-member Frank Miller co-direct. Rodriguez pal, Quentin Tarantino, also joins in the fun.

Frank Miller’s Sin City—and if there was any doubt of the source material, the opening credits makes no mistakes—is film noir revitalized. Busty broads, busted convicts, and busted heads all have their turn to shine, making this two-hour long movie seem like two minutes.

The film goes through four of Miller’s stories in the Sin City universe in a non-chronological order—”The Customer is Always Right,” “The Hard Goodbye,” The Big Fat Kill” and “That Yellow Bastard.” The world of Sin City is so dark, so depraved, touching issues regarding the most vile of human vices, that it’s definitely not a movie for the weak of heart, or unflinching morality. There are bad people in this film; bad people that do bad things to other bad people, and even innocent people, and if you can’t stomach that, I’m sure you can still catch the matinee for Miss Congeniality 2.

Let me tell you, castration is in the plural for this film.

Stunning, and other frivolous adjectives could easily describe the visuals used to bring this graphic novel to life. I’m not going to even go into it further, because seeing is really believing.

Not only was this an experiment in filmmaking, this was another way for actors to shine. Pretty hero-types John Hartnett and Frodo—I mean, Elijah Wood—are excellently cast against type. And of course, Mickey Rourke, who I last saw beating up Enrique Inglesias in front of Jennifer Love-Hewitt, does a lot more damage to the mooks littering the film—and manages to paddle some electricity back into a previously flat-lining career.

The rest of the cast doesn’t disappoint as they keep tongue firmly in cheek, delivering some dangerously cheesy lines with healthy aplomb. But it works. It all works. The men are manly, over-the-top macho, and the women… ah, the women.

Miller makes sure that all fantasies are covered—the women read like a list of every type a man could desire. From Alexis Bledel’s baby-faced innocence to Rosario Dawson’s commanding presence as Gail, no man will leave with at least one of his types featured. It’s interesting to note that all the women in the film but one play prostitutes, though the film won’t let you forget that these babes are no pushovers, as a certain climactic point illustrates in bloody mayhem.

Sin City is a treat for the eyes and for all moviegoers out there sick of the pristinely pure, politically correct offerings out there. This movie is raw, viciously violent, and pure movie entertainment.

Have fun, and keep your family jewels protected.