Nine years after the hard-boiled graphic novel sensation Sin City burst onto the big screen, co-directors Robert Rodriguez and Frank Miller (who is also the writer) reunite to take us back to the mean black and white, hyper- stylised streets, writes Matt Adcock.
Sin City: A Dame To Kill For weaves together two more of Miller’s Sin City stories and combines completely new material written especially for this sequel. Yes it’s still chock- full of ultra-violence, action, nudity and gruff noir anti-heroes, but the clue is definitely in the name and if you’re adverse to anything ‘sinful’ this isn’t the movie for you.
As both a Christian and comic book fan I find the Sin City world fascinating for a wealth of reasons. Miller’s alternate universe is one where the only justice is brutal vengeance and absolutely nobody is safe. Dive a little deeper and you’ll see that everyone here has something dark to hide or is broken in some way.
Back from the first film are seemingly indestructible Marv (Mickey Rourke) and charismatic righteous do-gooder Dwight (Josh Brolin – taking over from Clive Owen), both of whom are put through the Sin City mangle once more.
Jessica Alba’s Nancy is back, too – all grown up and still burning for revenge against the powerful returning Senator Roark (Powers Boothe). She’s watched over by a nice ghostly cameo appearance from Bruce Willis’s Hartigan.
New to the City are hotshot gambler Johnny (Joseph Gordon-Levitt) who may have crossed the wrong person when he also tries to take on Roark in segment called The Long Bad Night, which fully delivers what it suggests.
But stealing the show is the titular Dame To Kill For – Ava Lord (Eva Green), who spends a lot of the film undressed, manipulating the men around her to kill and die at her whim. She’s hypnotic to watch, packing evil green spot colour irises that stand out in the monochrome black and white cinematography.
Although the actual plots aren’t as rousing as the original, fans of Sin City will find much to enjoy here. Even the added 3D actually enhances the cinematic experience, rather than feeling like a gimmick it so often is.